One of the brightest famous poets of the last century - Marina Tsvetaeva, whose biography and personal life we ​​are discussing today. She wrote not only wonderful poems, but also biographies and critical articles. All schoolchildren are introduced to the poems of a talented poetess without fail. Her work is still on the lips of actors and singers. Tsvetaeva's books seem to turn something deep inside and remain forever in the heart.

Marina was born in Moscow. Her father, Ivan Vladimirovich Tsvetaev, was a famous academician. And Marina's mother is pianist Maria Mein. Of course creative family influenced Tsvetaeva's childhood. Mom taught her to play the piano, hoping that the girl would follow in her footsteps. And her father forever instilled in Marina an ardent love for literature and foreign languages.

Marina and her mother periodically lived in Europe. Therefore, the girl learned excellently foreign languages- French and German. Already at the age of six, she began to write poetry both in her native language and in foreign languages. Most of all she liked to create in French.

In addition, Marina studied not only in Moscow private gymnasium, but also in foreign boarding houses for girls, in Switzerland and Germany. At the age of 16, she decided to study at the Paris Sorbonne. I started listening to this famous educational institution a course of lectures on old French literature, but soon dropped out of school.

At the beginning of the last century, the young poetess began to publish her first poems. At that time, she closely communicated with representatives of the Moscow Symbolists, was very active, took part in the life of literary circles.

But carefree youth did not last long - the country was engulfed by the Civil War. Marina could not accept the division of her native, beloved country into "white" and "red" parts. Mentally, the girl was very hard.

In the spring of 1922, she received permission to emigrate and settled in the Czech Republic. Moreover, her husband, Sergei Efron, has lived in this country for several years and studied at a local university.

But Tsvetaeva did not stay long in Prague. Three years later, she moved to Paris with her family. But in this country, her family had difficulties, and Marina realized that her heart longed for her homeland.

Poems by Marina Tsvetaeva

In 1910, a talented girl released the first collection of her poems - "Evening Album". It consisted, for the most part, of poems that Marina wrote while still at school. The "gurus" of Soviet poetry - Maximilian Voloshin, Nikolai Gumilyov and Valery Bryusov - became interested in Tsvetaeva's work.

Interestingly, Marina did not seek anyone's support in order to release her books. The very first of them were published with her own money.

The second collection of poems by Marina Tsvetaeva, whose personal life and biography we are discussing today, was called "Magic Lantern". And after some time, the next collection "From two books" was released.

During the start civil war Marina supported her husband, a "white" officer, although she did not approve of the division of the country at all. During this period she wrote many poems, poems, plays.

After moving abroad, she composed some of her most famous poems - "The Poem of the Mountain" and "The Poem of the End". In addition, in 1925 a collection of poems by Tsvetaeva "After Russia" was published.

But foreigners liked Tsvetaeva's prose more. They read her impressions of the work of famous Russian poets. Collections of poems were bought catastrophically rarely. Although at that time the girl wrote wonderful works. For example, the cycle "Mayakovsky", written in experiences due to the death of a great poet.

This event greatly shocked Tsvetaeva. And many years later, you can feel her pain by reading those lines. Today we will briefly recall the work of Marina Tsvetaeva, talk about her biography and personal life.

Personal life

Marina Tsvetaeva, whose personal life and biography are full of dramatic events, had three children. In 1911, the girl met the man who became her husband, Sergei Efron. Later, they got married. And soon their daughter Ariadne was born. However, the idyll did not work out in this family. Periodically, Tsvetaeva fell in love with other men.

One of her brightest novels was with the poet Boris Pasternak. Their relationship lasted 10 years. And even after emigrating from Russia, Tsvetaeva kept in touch with Boris.

In other matters, in Prague, she began another romance, with Konstantin Rodzevich. This relationship lasted for about six months, and after Marina wrote the famous "Poem of the Mountain" and dedicated it to Konstantin. The point was put in their relationship at the moment when Tsvetaeva decided to help Rodzevich's bride choose a dress for the wedding.

In addition, Marina Tsvetaeva had a close relationship with the poetess Sofia Parnyuk. Tsvetaeva dedicated her close friend cycle of poems, thereby publicly declaring their relationship. Once Marina even went to Parnyuk from her husband after a scene of jealousy. But after some time she returned to Sergei and gave birth to another daughter, Irina.

Relations with Parnyuk Tsvetaeva later explained by the fact that she was bored to love some men. Besides. She called this love "the first disaster in my life."

After the second daughter of Marina was born, changes took place in the country. The husband fled abroad. The girl was left with the children in extreme need, she was starving. To feed the children, she had to give them to an orphanage near Moscow. After that, in the life of Tsvetaeva happened new tragedy Irina died at the age of three.

Having moved to Prague, Marina gave birth to another child from Sergei - the son of George. This boy was sick a lot since childhood, but this did not prevent him from going to war. In the summer of 1944 he died at the front. Unfortunately, the poetess did not have any descendants.

Death of Marina Tsvetaeva

In Europe, Marina and her family lived very poorly. Sergei Efron was ill a lot and was unable to support his family, Marina had little Grisha in her arms. They only rescued. modest fees for articles and essays, but they did not save the day. Even then, Marina said that she did not live, but was only slowly fading away from hunger. She tirelessly asked the Soviet embassy to return her and her family to Russia.

In 1937, Ariadne was allowed to return to her homeland, and six months later Sergei Efron secretly returned to Moscow. In France, a man could go to jail, as he was suspected of involvement in a political assassination. Some time later, Marina and her son returned to the country. But at home they were not welcomed warmly.

The daughter and husband of the poetess were arrested by the NKVD. Ariadne spent more than 15 years in prison, and then she was rehabilitated. But Efron was shot in 1941.

However, Marina never found out about the fate of her loved ones. After the start of the Great Patriotic War she and her son moved to the small town of Yelabuga. There, a woman got a job as a dishwasher. And three days later, Marina committed suicide. The woman hung herself.
Marina hanged herself on a rope given to her by Boris Pasternak. He helped Marina to pack for the evacuation and bought this rope for her, which was convenient for tying things.

Marina Tsvetaeva, whose biography and personal life are very interesting to fans of her work, was buried in Yelabuga. Where exactly is unknown. 50 years after her death, Marina was buried for the first time. So decided to do the Patriarch of Russia Alexei II, regardless of Orthodox customs. The church ceremony was held in Moscow in the Church of the Ascension of the Lord.

Now in our country and abroad there are several museums dedicated to the life and work of famous poetess. A monument was erected on the banks of the Oka in honor of the memory of Marina Tsvetaeva.

It is believed that Marina has longed to die all her life. It could have happened a year earlier or later, no matter when. But it would have happened. In her writings on Mayakovsky, Marina wrote that suicide does not begin at the moment the trigger is pulled, but much earlier. Coincidentally, on August 31, 1941, Marina was left at home alone and took advantage of this opportunity.

At the age of 16, she first tried to commit suicide. Then the young girl wanted to shoot herself, but the weapon misfired. The poetess Marina Tsvetaeva wrote in her diaries a year before her death that she wanted to commit suicide. She had to live for her son. But she never got over the situation.

Maria Ivanovna Tsvetaeva is a great Russian poetess who was born in Moscow on September 26 (October 8), 1892 and committed suicide in Yelabuga on August 31, 1941.

Marina Tsvetaeva is one of the most original Russian writers of the 20th century. Her works were not appreciated by Stalin and the Soviet regime. Literary rehabilitation of Tsvetaeva began only in the 1960s. Marina Ivanovna's poetry comes from the very depths of her personality, from her eccentricity, distinguished by an unusually precise use of language.

Marina Tsvetaeva: the path to the loop

The roots of Marina Tsvetaeva's work lie in her troubled childhood. The poet's father, Ivan Vladimirovich Tsvetaev, professor of art history at Moscow University, founded the Alexander III Museum, now the Museum fine arts named after Pushkin. Marina's mother, Maria Alexandrovna Mein, was a pianist who had to give up concert activity. The second wife of Ivan Tsvetaev, she had Polish ancestors, which later allowed Marina Tsvetaeva in several poems to symbolically identify herself with Marina Mnishek, the wife of the impostor of the Time of Troubles False Dmitry.

From his first marriage to the early deceased Varvara Dmitrievna Ilovayskaya, the daughter of the famous Russian historian, Ivan Tsvetaev had two children - Valeria and Andrey. From Mary Main, in addition to Marina, he also had a second daughter, Anastasia, who was born in 1894. Quarrels often occurred between the four children of one father. Relations between Marina's mother and Varvara's children were tense, and Ivan Tsvetaev was too busy with his work. Marina Tsvetaeva's mother wanted her eldest daughter to become a pianist, fulfilling her own unfulfilled dream. She did not approve of Marina's penchant for poetry.

In 1902, Mary Main fell ill with tuberculosis, and doctors advised her to change the climate. Until her death in Tarusa (1906), the family committed overseas trips. The Tsvetaevs lived in Nervi near Genoa. In 1904, Marina Tsvetaeva was sent to a boarding school in Lausanne. During her travels she learned Italian, French and German.

In 1909, Marina took a course in literature and history at the Sorbonne, in Paris, which her family opposed. At this time, Russian poetry was undergoing profound changes: the Symbolist movement was born in Russia, which strongly influenced Tsvetaeva's first works. However, she was attracted not by the symbolist theory, but by the works of such poets as Alexander Blok and Andrei Bely. Even while studying at the gymnasium, Bryukhonenko Tsvetaeva released for own account his first collection "Evening Album", which attracted the attention of the famous Maximilian Voloshin. Voloshin met with Marina Tsvetaeva and soon became her friend and mentor.

Tsvetaeva began to visit Voloshin in the Crimean Koktebel, on the Black Sea coast. This house was visited by many people of art. Marina Ivanovna really liked the poetry of Alexander Blok and Anna Akhmatova, with whom she did not communicate personally then. She first met Akhmatova only in 1940.

In Koktebel, Marina Tsvetaeva met Sergei Efron, a cadet of the Military Academy. She was 19 years old, he was 18. They immediately fell in love with each other and in 1912 got married. In the same year, in the presence of Emperor Nicholas II, big project her father, a museum named after Alexander III. Marina Tsvetaeva's love for Efron did not exclude her relationship with other men, for example, with the poet Osip Mandelstam. Around the same time, she had a love affair with the poetess Sofya Parnok, which was reflected in the cycle of poems "Girlfriend".

Marina Tsvetaeva and her husband spent their summers in Crimea until the revolution. They had two daughters, Ariadna (Alya, born September 5 (18), 1912) and Irina (born April 13, 1917). In 1914, with the outbreak of the First World War, Sergei Efron was mobilized. In 1917 he was in Moscow. Marina Tsvetaeva witnessed the Russian Revolution.

After the revolution, Efron entered into white army. Marina Tsvetaeva returned to Moscow, from where she could not leave for five years. raged in Moscow terrible famine. Marina Ivanovna suffered severe misfortunes: being alone with her daughters in Moscow during the famine, she allowed herself to be convinced of the need to send Irina to an orphanage, hoping that she would eat better there. But Irina died in orphanage from hunger. Her death caused Marina Tsvetaeva great grief. “God punished me,” she wrote in one of her letters.

During this Moscow period (1917-1920), Tsvetaeva became close to the theater circles, fell passionately in love with the actor Yuri Zavadsky and the young actress Sonya Holliday. The meeting with Sonia Holliday is mentioned in The Tale of Sonia. Without hiding her hatred for the communist regime, Marina Ivanovna wrote a number of poems in praise of the White Army (“Swan Camp”, etc.). When Ilya Erenburg went on a business trip abroad, he promised Tsvetaeva to find out the news about her husband. Boris Pasternak soon informed her: Sergei Efron is in Prague, safe and sound.

Tsvetaeva in a foreign land

To reunite with her husband, Marina Tsvetaeva left her homeland. She was destined to spend 17 years in a foreign land. In May 1922, Tsvetaeva and Alya left Soviet Russia to Efron, to "Russian" Berlin, where the poetess published "Separation", "Poems to Blok", "The Tsar Maiden".

In August 1922 the family moved to Prague. Sergei Efron, who became a student, was unable to feed his family. They lived in the suburbs of Prague. Tsvetaeva also had several love affairs here - especially strong with Konstantin Rodzevich, to whom she dedicated The Knight of Prague. She became pregnant and gave birth to a son, whom she named George, after Efron rejected the name Boris (in honor of Pasternak). Tsvetaeva herself often called her son Moore - by association with Cat Murr from Hoffmann's fairy tale. Alya soon had to take on the role of mother's assistant, which partly deprived her of her childhood. Moore proved to be a difficult child.

Marina Tsvetaeva. Photo 1924

On October 31, 1925 the family moved to Paris. Marina Tsvetaeva lived in France for fourteen years. Efron fell ill with tuberculosis there. Tsvetaeva received a meager allowance from Czechoslovakia. She tried to earn at least some money by lecturing and selling her works, mostly prose, which cost more than poetry. French writers and the poets ignored it, especially the surrealists. Marina Ivanovna translated Pushkin into French.

Tsvetaeva did not feel at ease in the circle of Russian émigré writers, although she had previously passionately defended the white movement. Emigrant writers rejected her. One of the letters where she admired the "red" poet Vladimir Mayakovsky led to her expulsion from the magazine " Last news". Marina Ivanovna found solace in communicating with Boris Pasternak, Rainer Maria Rilke, Czech poetess Anna Teskova and Alexander Bahrakh. After Rilke's death in 1927, she dedicated the poem "New Year" to him, where she has an intimate and amazing dialogue with him.

In 1927, Marina Tsvetaeva met the young poet Nikolai Gronsky, having tied up with him close friendship. They had mutual friends, often went to exhibitions together and literary evenings. Gronsky died in 1934. “I was his first love, and he was my last,” wrote Tsvetaeva.

In 1937, on the centenary of Pushkin's death, Marina Ivanovna translated into French a few more of his poems.

Efron was greatly burdened by exile. Despite his past white officer, in Sergei developed sympathy for the Soviet regime. He started espionage activities in favor of red Moscow. Alya shared his views and increasingly conflicted with her mother. In 1937, Alya returned to Soviet Union.

A little later, Efron also returned there. The French police suspected that he had assisted in the assassination in Switzerland of Ignatius Reiss, a Soviet spy who had betrayed Stalin. Marina Tsvetaeva was interrogated by the police, but her confused answers led the police to believe that she was crazy.

Tsvetaeva was expelled from the Russian émigré milieu. The inevitability of war made Europe even less secure than Soviet Russia had been.

The return of Tsvetaeva to the USSR and death

In 1939 Marina Ivanovna returned with her son to the Soviet Union. She could not foresee the horrors that awaited them there. AT Stalinist USSR everyone who had ever lived abroad was automatically suspect. Tsvetaeva's sister, Anastasia, was arrested before Marina returned. Although Anastasia managed to survive the Stalin years, the sisters never saw each other. All doors were closed for Marina Ivanovna. The Union of Writers of the USSR refused to help her, she somehow existed thanks to the meager work of a poet-translator.

In the summer of 1939 Alya and in the fall Efron were arrested on charges of espionage. Efron was shot in 1941; Alya spent eight years in the camps, and then another 5 years in exile.

After the start of the war, in July 1941, Tsvetaeva and her son were evacuated to Yelabuga (now the Republic of Tatarstan). The poetess ended up there alone, without any support, and on August 31, 1941, she hanged herself after a futile job search. Five days before her suicide, Marina Ivanovna asked the writers' committee to give her a job as a dishwasher.

Brodelshchikov's house in Yelabuga, where Marina Tsvetaeva committed suicide

Tsvetaeva was buried at the Peter and Paul Cemetery in Yelabuga, but the exact location of her grave is unknown. In 1955, Marina Ivanovna was "rehabilitated".

Tsvetaeva's poetry - briefly

Tsvetaeva's poetry was highly regarded by Valery Bryusov, Maximilian Voloshin, Boris Pasternak, Rainer Maria Rilke and Anna Akhmatova. One of her most devoted admirers was Joseph Brodsky.

The first two collections of Marina Ivanovna are called "Evening Album" (1910) and "Magic Lantern" (1912). Their content is poetic pictures of the calm childhood of a middle-aged Moscow schoolgirl.

Tsvetaeva's talent developed very quickly, especially under the influence of her Koktebel meetings. Abroad, in addition to the above, she published the collection "Milestones" (1921). In the verses of the period of exile, a mature style of Tsvetaeva develops.

Some cycles of her poems are dedicated to contemporary poets ("Poems to Blok", "Poems to Akhmatova").

In the collection "Separation" (1922), Tsvetaeva's first large poem "On a Red Horse" appears.

The collection Psyche (1923) contains one of the most known cycles Marina Ivanovna - "Insomnia".

In 1925 she wrote the poem "The Pied Piper" based on "The Stray Rats" Heinrich Heine.

The last ten years of Marina Ivanovna's life were, due to material circumstances, devoted mainly to prose.

Marina Tsvetaeva was born in Moscow.

Father, Ivan Vladimirovich Tsvetaev, is a philologist and archaeologist; professor at Moscow University; for 25 years - director of the Rumyantsev Museum (now the museum's collection is included in the funds of the Russian state library); founder of the first state museum in Russia - fine arts(now State Museum fine arts them. A.S. Pushkin). From his first marriage, he had two children - a daughter, Valeria, and a son, Andrei; second marriage was married to Maria Alexandrovna (Mein), a pianist whose rare musical talent was not fully realized: at that time a woman could get into concert hall solely as a listener.

Maria Alexandrovna became a faithful assistant to her husband in all his affairs related to the creation of a new museum. Just like the first wife of I.V. Tsvetaeva, died early, leaving two daughters - fourteen-year-old Marina and twelve-year-old Anastasia.

Marina Tsvetaeva already knew how to read at the age of four; She has been writing poetry since the age of seven. She also had a talent for music, but was reluctant to do it. Studying in boarding houses abroad in 1902–1905 (Italy, Switzerland and Germany) gave her an excellent knowledge of German and French.

First compilation

The first collection "Evening Album" Marina Tsvetaeva published at her own expense in 1910. It included 111 poems, most of them still immature and naive, which gave rise to the symbolist poet Valery Bryusov to speak about them in print in the best way: "... this immediacy... passes on many pages into some kind of "domesticity". poetic creations...but just pages personal diary, and besides, the pages are pretty insipid".

Maximilian Voloshin, to whom Tsvetaeva also gave the book for review, on the contrary, did not see anything reprehensible in the "diary" nature of the collection. The "immature" verse of M. Tsvetaeva, sometimes insecure and breaking like a child's voice, is able to convey shades that are inaccessible to a more adult verse ... "Evening Album" is a wonderful and spontaneous book filled with truly feminine charm", he wrote in the article Women's poetry", published on December 11, 1910 in the Moscow newspaper "Morning of Russia".

Other reviews were more or less favorable, incl. - Nikolai Gumilyov. However, it was Makisimilian Voloshin who, as time has shown, best of all "felt" the peculiarities of the emerging new poetic world. The friendship between Tsvetaeva and Voloshin will then last for many years.

"Evening Album", being, in fact, only a test of the pen, nevertheless outlined the contours of the further main conflict love poetry Tsvetaeva: "the conflict between "earth" and "heaven", between passion and ideal love, between the momentary and the eternal, - and more broadly - the conflict of all Tsvetaeva's poetry: life and being" (Saakyants A.A. Marina Tsvetaeva. Life and creation. — M.: 1997. — P.19).

Second collection

The second collection - "The Magic Lantern" (1912) - was subjected to much harsher criticism (Gumilyov even called it a "fake"), and this was partly justified. The themes and intonations actually repeated those that had already been heard in the first book. Marina Tsvetaeva herself considered "Evening Album" and "Magic Lantern" in spirit one book (as she later wrote in her autobiography).

In 1913–1914 finally determine your own creative road poet. Many lines written at this time will become prophetic - in particular, "... Scattered in the dust in shops, / / ​​- Where no one took them and does not take them, - / My poems, like precious wines, / / ​​Their turn will come".

And some poems decades later will become famous songs and romances ("Requiem", "I like that you are not sick of me ..." and later, 1915, - "Under the caress of a plush blanket" and "I want by the mirror, where mud...").

getting married

The war of 1914 left almost no trace in the work of Tsvetaeva. The response to the dramatic world events was only one poem with a philosophical finale: "The wind is already creeping, the earth is already in dew,// Soon the starry blizzard will freeze in the sky,// And under the ground we will all soon fall asleep,// Who on earth did not let each other fall asleep".

This detachment from public problems was explained not so much by the changes that had taken place earlier in Tsvetaeva’s personal life (on January 27, 1912, she married Sergei Yakovlevich Efron, in September their daughter Ariadna was born), but by the fact that she was generally characterized by a focus on domestic, not on the outside.

Own experiences - that "tower of Ivory", in which she preferred to live. From here came the "terrible intimacy" of the first poems, which Bryusov reproached Tsvetaeva for; later this "intimacy" (the utmost openness, openness of the soul) will be reborn into expression, in the power of which from poets Silver Age only V. Mayakovsky and, to some extent, A. Kruchenykh can be compared with Tsvetaeva.

creative maturity

turning point year, the year of the upcoming creative maturity was 1916. Tsvetaeva met him in St. Petersburg, and this trip (the second, although Tsvetaeva will call her "first") gave her a lot. "<...>all young people have partings - and volumes of Pushkin in their hands ... Oh, how they love poetry there! In all my life I have not said as many poems as there ... "(from a letter from Tsvetaeva to the poet Mikhail Kuzmin, 1921).

Marina Tsvetaeva met Kuzmin during these three St. Petersburg weeks. At the same time, her second meeting with Osip Mandelstam took place, which marked the beginning of their friendship. Relations with Mandelstam would subsequently cease, however, in the verses of both of them, a trace will remain in the form of a kind of creative dialogue.

In 1916, Marina Tsvetaeva's ties with Severnye Zapiski would be strengthened - her poems would be published in almost every issue during that year. But the main result of the St. Petersburg trip, upon returning to Moscow, will be changes in creativity: "as if some Moscow spirit began to wake up in her lyrical heroine. Russianness- contrast Europeanism images and sensations inspired " northern capital"" (Saakyants A.A. Marina Tsvetaeva. Life and creation. — M.: 1997. — S. 8).

The poetics of Tsvetaeva began to penetrate folklore motifs, images and rhythm of speech. But it was by no means an imitation. To folk images Tsvetaeva addresses both archetypes, processing them into modern symbols. This direction of her work will reach the top in the poems "The Tsar Maiden" (1921) and "Well Done" (1922).

Civil War

The year 1917 brought Marina Tsvetaeva the birth of her second daughter, Irina, and an almost five-year separation from her husband.

During the years of the civil war, S.Ya. Efron ends up in the white army; then, after its defeat, he fled to Turkey, then to Germany and from there, in 1922, to the Czech Republic. Tsvetaeva for a long time knows nothing of his fate. Volunteering ("white" movement) is associated with her exclusively with the image of her own husband - selfless and noble. So in her work there are poems in which the White Guard is sung, or rather, mourned, since Marina Tsvetaeva, apparently, from the very beginning felt that volunteering was doomed.

In her notes, she gives this definition: "volunteering is a good will to die." Lines from the verses correspond to this formula: " white guard, your path is high // To the black muzzle - the chest and temple...", "It's not a flock of swans in the sky // The White Guard's army is holy// Melting with white vision, melting..." These poems will then be combined into a cycle " Swan Camp" and will give some critics a reason to label her as a "White Guard".

At the end of 1918 - the first half of 1919. for Marina Tsvetaeva, a passion for the theater begins. In conditions of difficult life, when she has to travel far from Moscow for groceries, she runs into the world of romance and scenery. Pieces are born: Jack of Hearts", "Snowstorm", "Adventure" and "Fortune" (autumn 1918), "Stone Angel" (spring 1919) and "The End of Casanova" (summer 1919). Subsequently, Tsvetaeva will move away from the theater.

In February 1920 in Kuntsevsky orphanage died Irina, the youngest daughter of Marina Tsvetaeva and Sergei Efron.

In November 1919, one of her acquaintances advised Tsvetaeva to place the children in this institution so that they could be supported by the state: there was a famine in Moscow, and the poet had difficulty, due to meager earnings from the sale of books and - sometimes - help good people, contained Alya and Irina.

The decision to place the children in an orphanage was fatal and led to tragedy. Alya, soon seriously ill, weak and high temperature, Marina Tsvetaeva took home. nursing eldest daughter, Tsvetaeva did not visit the youngest, and she at that time, being a healthy child, began to weaken.

Irina died of hunger; as Ariadne Efron later wrote, "there was simply no food there," i.e. children were robbed in the orphanage. A sense of guilt oppressed Marina Tsvetaeva: “I live with a constricted throat, on the edge of the abyss.” I understand a lot now: my adventurism is to blame for everything, my easy attitude to difficulties, and finally, my health, my monstrous endurance. difficult..." (letter to V.K. Zvyagintseva and A.S. Erofeev, February 20, 1920). "Everything in me is now gnawed, eaten away by melancholy ...<...>And with what contempt I think of my poems!.." (letter to V.K. Zvyagintseva, February 25, 1920). However, it was the poems (and, of course, Ali's recovery) that helped Marina Tsvetaeva return to life.

In two months, from July 14 to September 17, 1920, Tsvetaeva wrote a long poem "The Tsar Maiden", one of her best works. The platform was tale of the same name Afanasyev, but Tsvetaeva took from her only a few storylines. She introduced new heroes into the poem, complicated the plot and characters - one might say, she created her own lyrical epic.

At the end of 1920, the poem "On the Red Horse" was completed, and then, at the end of February 1920, work began on the fairy tale poem "Egorushka". Had this work been completed, it would probably have been the largest in scope and breadth of conception. But Marina Tsvetaeva, having written three chapters of "Egorushka", cooled down to the poem, and, returning to it in 1928, again left work.

The fact that her husband, Sergei Efron, was alive, she learned on July 14, 1921, having received the first news from him. Soon it was decided to go to him. She did not hesitate, but nevertheless expressed some fears in a letter to Ilya Ehrenburg: "You must understand me correctly: not hunger, not cold ... I'm afraid, but addiction. My heart feels that people are tougher there in the West. Here torn shoes - trouble or valor, there - shame" (November 2, 1921).

About Moscow, at the same time, Tsvetaeva wrote: “It is monstrous. A fatty growth, an abscess. There are 54 gastronomic stores on the Arbat: food is vomited at home. for money. The general law is ruthlessness. No one cares about anyone. Dear Max, believe me, I'm not out of envy, if I had millions, I still wouldn't buy hams. It all smells too much of blood. There are many hungry people, but where are they? in burrows and slums, visibility is brilliant" (from a letter to M. Voloshin, November 20, 1921).

Emigration

In May 1922, Marina Tsvetaeva and her daughter arrived in Berlin, where they were to meet Sergei Efron. He lingered trying to arrange them future life in the Czech Republic, and in anticipation of the completion of these troubles, Tsvetaeva spent more than 2 months in Berlin. This was the time of her intense communication with Russian émigré writers Andrei Bely and Ilya Ehrenburg. Also in Berlin, her epistolary friendship began with Boris Pasternak, who spoke enthusiastically about the second Moscow edition of Tsvetaeva's collection "Milestones", which absorbed poems from 1917-1920. Pasternak Tsvetaeva will be called a "brother in poetry", as Anna Akhmatova has already been called a "sister", and will devote a lot to him beautiful poems(one of the most famous is "Distance - standing: versts, miles ...// We were racially set up, rasseden, // To behave quietly// At two different ends of the earth ...").

In Germany, Tsvetaeva managed to establish ties with publishers, and by the end of 1922 her works were published in the Berlin "Flashlights", "Epic", "Voice of Russia", "Russian Thought"; there were publications in the Riga magazine "Today" and the Parisian "Modern Notes".

Reviews of the works of Tsvetaeva, which were published abroad at that time, were sympathetic. In Russia, where Tsvetaeva was still printed, responses for rare exception became more and more negative:

• Osip Mandelstam in the article "Literaturnaya Moskva" (magazine "Russia") called Tsvetaeva's poetry "Mother of God needlework";
• Valery Bryusov considered "Poems to Blok" as poems written under Orthodox prayers;
• Boris Lavrenev accused Tsvetaeva of being hysterical, etc.

The book "Milestones" (1st edition, with verses, 1916) evoked from some critics a completely unrestrained stream of wit: S. Rodov published an article entitled "A Sinner at Confession at the State Publishing House."

The whole end of 1922, having already settled in the Czech Republic, Marina Tsvetaeva worked on a "fierce", as she herself put it, thing - the poem "Well Done". As in the case of the "Tsar Maiden", the plot was taken from Afanasyev (from the fairy tale "Ghoul").

Tsvetaeva defined her task as "revealing the essence of a fairy tale given in the backbone", "disenchanting a thing" (from the article "A Poet on Criticism", 1926). The verse of the poem is jerky; he sets the rhythm, which contemporaries rightly labeled as "dance", "whirlwind". Sentences often consist of one word - "shouted out", because it is separated from others by an exclamation mark.

Later, already in France, Marina Tsvetaeva will translate "Well Done" into French - more precisely, she will write it again, but this translation will not be successful.

In the Czech Republic, Marina Tsvetaeva will gradually move away from small forms of lyrics to large ones. Here the idea of ​​the tragedy "Theseus" will ripen (and in 1923 the big job above it) and the "Poem of the Mountain" and "Poem of the End" (1924) will be created.

On February 1, 1925, Marina Tsvetaeva's long-standing dream of a son came true: Georgy Efron was born (home nickname - Mur). Absorption in maternal care did not prevent her, however, from working intensively. The poem "The Pied Piper" (to be completed in France at the end of 1925) and the essay on Valery Bryusov "Hero of Labor" (1925) are born. In addition, Marina Tsvetaeva, together with V.F. Bulgakov edits the Prague almanac "The Ark".

Moving to France on November 1, 1925 was explained by an attempt to somehow arrange the still difficult life and the desire to give children the necessary environment for their upbringing and education.

However, life on the outskirts of Paris was no easier than in Prague (besides, as in the Czech Republic, in France, Tsvetaeva often had to change her place of residence - partly because of unsuitable conditions, partly because of the poetess's quarrelsomeness with neighbors and landladies) . But there certainly was more people who could help her, including material.

The emigrant press in Paris met Marina Tsvetaeva at first kindly. The poet was in the center of attention; her literary evenings were a success.

In 1926, the article "A Poet on Criticism" was published, in which Marina Tsvetaeva deduced the formulas: "a poet is a thousand people" and "equality of soul and verb - that's a poet." The same publication made her enemies because of the uncompromisingness with which Tsvetaeva pronounced a verdict on criticism, denying her, in fact, the right to exist: "Why tell me, what in this thing I wanted to give - I better show me what managed to take from her - you.

Ivan Bunin and Zinaida Gippius, whose names Tsvetaeva mentioned in the article in a negative way (Bunina - for rejecting Yesenin, and Gippius - for "bewilderment" at Pasternak's syntax) on occasion sharply responded to these attacks.

When Sergei Efron published the first issue of the literary and publicistic magazine Versta, Bunin in the press called the publication an absurd, boring and bad taste book; condemned the magazine for exalting to heaven new literature"in the face of the Yesenins and Babels", and he mentioned Tsvetaeva in passing, saying that anyone "for a nickel" would guess what she "shone" this time.

Gippius expressed her hostility to Tsvetaeva by attacking the Poem of the Mountain with criticism. Gradually, literary Paris showed less and less understanding in relation to the work of Marina Tsvetaeva, which was to blame not only for the ability of the poetess to make enemies for herself, but also for the change political views her husband. Sergei Efron began to openly support Soviet power which turned many Russian emigrants away from him. The attitude towards him was transferred to the attitude towards his wife. Her works began to be published less often, often with rough cuts. She herself was given the nickname "Bolshevik" (as unfair as the "White Guard").

The last separate book of poems by Marina Tsvetaeva ("After Russia") was published in Paris in 1928.

In 1930, the "Poem about Royal Family"(corrected in 1936). Undertaking this work, Tsvetaeva was fully aware that this work had no chance of being published; she wrote about the poem: "Nobody needs it. Here it will not reach because of "leftism" ("form" - quotation marks because of the vileness of words), there - it simply will not reach there, physically ... "(from a letter to R.N. Lomonosova, February 1, 1930) And yet she perceived the work as a duty. tragic ending life of Tsar Nicholas II and his family, Tsvetaeva considered herself obliged to create a kind of requiem for the dead. "The Poem about the Royal Family" is lost; only a fragment called "Siberia" has been completely preserved.

In France, Marina Tsvetaeva also wrote such poems as: "From the Sea" (1926), "An Attempt at the Room" (1926), "The Staircase" (1926), "The Poem of the Air" (1927) , "Perekop" (1939), and, in addition, a number of prose works.

USSR

On March 15, 1937, Marina Tsvetaeva's daughter, Ariadne Efron, left France for her homeland, which was now called the USSR.

In early October of the same year, Sergei Efron fled to the Soviet Union, who had served in the military since 1931. foreign intelligence NKVD (which Marina Tsvetaeva simply did not know about for several years, and upon learning, accepted it as inevitable: her husband dreamed of returning to his homeland for many years and thus, probably, tried to earn this right).

Tsvetaeva herself had a premonition that leaving for the USSR could be disastrous for her: "... There they will not only shut my mouth by not printing my things - they won't even let me write them" (letter to A.A. Teskova, 1932). But after her daughter and husband left, she decided to follow them.

In exile, Marina Tsvetaeva spent total 17 years. Later, in an appeal to L.P. Beria on December 23, 1939 (after the arrest of relatives), she wrote: "The reasons for my return to my homeland are the passionate aspiration of my whole family there: my husband - Sergei Efron, my daughter - Ariadna Efron<...>and my son George, who was born abroad, but with early years passionately dreaming of the Soviet Union. The desire to give him a homeland and a future. Willingness to work for yourself. And total loneliness in exile, with which I have long been connected by nothing."

Bolshevo

On June 18, 1939, Marina Tsvetaeva entered the country with her son, and after that, on June 19, she arrived in Bolshevo, at the house at the address: pos. "New Life", d. 4/33. In fact, it was a dacha of the NKVD, where two families lived - Efron and Klepinin (Nikolai Andreevich Klepinin was S.Ya. Efron's comrade in joint work in Paris). This house, with two separate entrances, had a common living room, so that both families dined together.

In her diary entries of 1940, Marina Tsvetaeva describes her Bolshevik period as follows: “Gradual aching of the heart. Ordeals on the phones.<...>I live without papers, I do not show myself to anyone.<...>My loneliness. Dishwater and tears. The overtone - the undertone of everything - horror. They promise a partition - the days go by. Murin's school - the days go by. And the unaccustomed wooden landscape, the absence of stone: standing. Disease S. (Sergey Efron - note ed.). The fear of his heart's fear. Fragments of his life without me - I do not have time to listen: my hands are full of deeds, I listen on a spring. Cellar: 100 times a day. When to write?

Soon Marina Tsvetaeva learned about the arrest of her sister Anastasia. While the Efrons and Klepinins lived in Bolshevo, cars often arrived at night and took away all the adults from the dacha, with the exception of the poet. From the end of 1938, the arrests of repatriates in the USSR were not uncommon, and they knew about it. According to the memoirs of Sofya Nikolaevna Klepinina, “everyone understood that this natural disaster, like an avalanche, could capture everyone who got in its way. Moreover, adults (and this is the entire population of the house, except for Moore and me) were (now I know for sure ) are ready for the fact that they will have to share the fate of many innocent people, except for those guilty of excessive love for their homeland. They waited every night, although during the day they tried to pretend that everything in life was going as it should. Can you imagine imagine that atmosphere of anxiety, tension, fear, which they carefully tried to disguise with efficiency, seriousness, busyness? (S.N. Klepinina, letter to A.I. Tsvetaeva dated May 16, 1982).

In Bolshevo, Marina Tsvetaeva worked on translations of poems by M.Yu. Lermontov into French ("Prediction", "Again folk whims ..", "No, I'm not Byron ...", "I go out alone on the road", "Dead Man's Love", "Farewell, unwashed Russia" and etc.).

She rarely left her room, smoked almost all the time, and sometimes "made the impression of complete detachment from everything that surrounded her, as if there was some distance between her and those around her; as if in order to hear the question addressed to her and answer it, she needed to disconnect from something, then to connect to something, and only after that communication with others became, to put it modern language, synchronous" (from the memoirs of S.N. Klepinina).

In the diary entries of Marina Tsvetaeva, which have already been mentioned, there are the following lines: "No one sees - does not know that I have been (approximately) looking for a year with my eyes - a hook, but there are none, because there is electricity everywhere. No "chandeliers" ... I year try on - death.<...>I don't want - die, I want - not to be. Nonsense. While I need... <...>How many lines passed! I don't write down anything. It's over with this."

On August 27, 1939, Ariadna Efron was arrested in the Bolshevsky house. Less than two months later, on October 10, 1939, Sergei Efron was arrested here.

On the night of November 6-7 of the same year, the arrests of Nikolai Andreevich Klepinin and his wife Antonina Nikolaevna Klepinina followed.

The dacha in Bolshevo was empty. Marina Tsvetaeva and her son continued to live here until November 10: "We<...>were left completely alone, lived out, drowned with brushwood, which they collected in the garden.<...>At the dacha it became in every possible way unbearable, we just were freezing, and November 10, locking the cottage with a key<...>, my son and I went to Moscow to a relative (Elizaveta Yakovlevna Efron - note ed.), where we spent a month in the hallway without a window on chests, and wandered around during the day, because our relative gave diction lessons and we interfered with her "(from the appeal of M.I. Tsvetaeva to the Secretary of the Union of Writers P.A. Pavlenko dated August 27, 1940 .).

The winter of 1939 was coming; Marina Tsvetaeva had no warm clothes, no shoes, no blankets. Baggage from France, which was sent in the name of Ariadne Efron, was probably detained at customs.

October 31st from Bolshevo M.I. Tsvetaeva sent a letter to the investigation unit of the NKVD with a request to issue this baggage to her. Things were received only at the end of July 1940 and only after Ariadna Efron was sentenced by the NKVD OSO to 8 years in camps without confiscation of property.

The winter had to be "overcome" in the most difficult psychological and physical conditions roaming around different apartments. At first, as already mentioned, it was a cramped apartment of E.Ya. Efron; then - a rented room in Golitsyn not far from the rest house of the Litfond, where fellow writers were able to arrange for Tsvetaeva and her son, according to at least, food; then - again Moscow and all the same removable rooms-closets ...

In order to somehow earn a living, Marina Tsvetaeva, by her own admission, "worked tirelessly."

These were the translations:

• from English (two ballads about Robin Hood),
• from Georgian (three poems by Vazha Pshavela),
• from Bulgarian (poems by E. Bagryana, N. Lankov and L. Stoyanov),
• from French ("Swimming" by Baudelaire),
• from German ( folk songs) etc.

At the same time, the poet did not leave attempts to save her husband and daughter. On December 23, 1939, the first appeal was sent to L.P. Beria, in which Marina Tsvetaeva - in vain - cried out for justice.

On June 14, 1940, she turned to Beria again - this time with a request to meet with Sergei Efron, whose ill health inspired her anxiety and fear. But this request was also denied. They never saw their husband.

Marina Tsvetaeva visited Bolshevskaya dacha last time at the end of March 1939

She was still registered in Bolshevo; there were books, furniture and the whole household. On this visit, it turned out that the dacha had been broken into, and the head of the local village council settled in two rooms Efronov. "Then I turned to the NKVD and, together with the employees, came to the dacha for the second time, but when we arrived, it turned out that one of the burglars - namely the police chief - strangled himself and we found his coffin and him in the coffin. All my utensils have disappeared, only books have survived, and burglars still use furniture, because I nowhere to take it" (from an appeal to P.A. Pavlenko, August 27, 1940). And further, in the same document, - "I have nothing to count on compensation for the housing taken from me by burglars: the dacha went to Exportles, in general it is my stay was some kind of controversial, it is not known whose, now Exportles has received it in court. Thus ended my Bolshevo living space.

At the end of 1939, Goslitizdat Marina Tsvetaeva was asked to prepare a small collection of her poems. She took up this work and completed it, but one of the reviewers, K.L. Zelinsky, gave the collection, and at the same time the author, such "diagnoses": "... clinical picture distortion and decay human soul products of capitalism in its last especially putrid pharmacy", "thoughts and images indicate that the poet is entirely in the grip of bourgeois prejudices in his views on reality."

As a result, the book was not published; translations were also poorly printed (despite the fact that they were ordered by publishing houses). Last work for Tsvetaeva were some poems by the great Spanish poet Federico Garcia Lorca, which she translated into French and Russian.

Evacuation

In the summer of 1941, when the war began, Marina Tsvetaeva decided to evacuate Moscow. A group of writers went to Chistopol and Yelabuga (Tatar ASSR), and Tsvetaeva stocked up letters of recommendation to the Tatar branch of the Union of Writers and Tatizdat.

She did not get to Kazan, and the letters were not useful. Only relatives of those who had been evacuated before were allowed into Chistopol. Elabuga remained, in which there was neither work nor acquaintances. Marina Tsvetaeva and her son settled here on August 18, 1941, but on August 24 she left for Chistopol to work on moving there.

On August 26, a meeting of evacuated writers was held in the party office of the City Council, at which the question of the poet's registration in Chistopol was decided.

Marina Tsvetaeva had to, standing in front of everyone, explain why she should live in this particular city, where she asks to get a job as a dishwasher. By a majority of votes, the writers voted for the registration of the poet.

On August 28, Tsvetaeva returned to Yelabuga to her son. On August 31, left alone (both the owners and Georgy Efron went about their business), she hanged herself in the hallway of the Elabuga house.

It is known that the thought of suicide more than once occurred to Marina Tsvetaeva. Evidence of this is entries in diaries and letters from different years.

The version that most of the blame for what happened lies with the son of the great poet - Georgy Efron, who had very complicated relationship with his mother - seems superficial and untenable. It is probably permissible to speak of a combination of many causes that led to the tragedy. Among them are the arrest of their daughter and husband, poverty, the inability to engage in their own creativity, fear of German occupation, the absence of a friendly hand and a shoulder to lean on - finally, the absolute spiritual defenselessness of Marina Tsvetaeva herself.

This woman went through war and famine, wrote many poems about love and death, and in the end decided to cease to exist. help the reader to form his own opinion about the poetess. Until now, the poems of this beloved poetess with an unfortunate fate inspire people to confession and love, thus Interesting Facts from the life of Tsvetaeva Marina Ivanovna will help to lift the veil into her inner world.

1. Marina began to rhyme and write poetry as a child. She knew how to do it different languages. In addition to Russian, the girl also spoke French and German. Her family often lived abroad, so the girl learned languages ​​​​by communicating directly with their speakers.
2. Marina had a strong influence on her mother - Maria Main. As a student of Rubinstein himself, the woman dreamed that her daughter would also become a famous pianist. Tsvetaeva knew how to play musical instrument, but she was more attracted by the world of poetry.

   

3. Marina had a tender affection for her sister - Anastasia. Since childhood, they were together and studied at the same private women's gymnasium. Interestingly, Anastasia also chose a creative path in life. Only she wrote not poetry, but prose.

   

4. The poetess published her first collection of poems by spending her own money. She released it under the title "Evening Album" in 1910. Later, Tsvetaeva claimed that these poems were a love confession to a person to whom she was afraid to express her feelings.

   

5. The work of Tsvetaeva attracted the attention of Bryusov, Voloshin and Gumilyov. Their poetry, as well as the poems of Nikolai Nekrasov, helped Marina shape her views and were reflected in her next collections. She also wrote plays.

   

6. Marina wanted to marry someone who would give her a favorite stone. She met her future husband while on vacation at sea. On the day they met, a man who did not suspect anything presented her with a carnelian found on the beach.

   

7. Tsvetaeva's heart has always belonged to one man - Sergei Efron. Then he became her husband and father of children. They met in the Crimea. There Marina rested with Maximilian Voloshin, and Sergei came to get some treatment for consumption.

   

8. Once the poetess had an affair with a woman - Sofia Parnok, who was a translator and also wrote poetry. Tsvetaeva devoted many lines to her in her collections. Efron was very upset by her new hobby, however, he nevertheless forgave his wife when she returned to her family in 1916.

   

9. Tsvetaeva's first child was a girl. She was named Ariadne (Aley for short). The birth of her daughter disappointed the poetess, as she wanted a son. The second time the poetess again had a girl. Irochka lived only 3 years and died in an orphanage.

   

10. When Efron took part in the defense of the Crimea, Tsvetaeva lived in Moscow with two children in her arms. Money for food from the family at that time hard time was not, so the poetess sold her personal belongings to buy food. Out of desperation, she gave both daughters to an orphanage. She soon took the eldest, and the youngest died there from starvation.

    

11. Tsvetaeva had an unusual predilection for names. She believed that the fate of a person depends on them. Marina named her long-awaited son George, although she believed that the “th” in the name takes away masculinity. Her husband insisted on it. The woman liked the name Boris, which Pasternak bore, more.

    

12. Some biographers believe that George's father was K. Rodzevich. Marina met him during the Czech period of emigration. Tsvetaeva herself said many times that the father of her son is Sergei Efron. The poetess bore him another child, as if expiating the guilt for the death of her daughter.

    

13. During World War II Marina was evacuated to Yelabuga. There she lived last days own life. When moving, Pasternak helped her tie things up with a rope, on which Tsvetaeva later hanged herself. Marina was buried in the same city at the Peter and Paul Cemetery.

    

14. Tsvetaeva left behind 3 suicide notes. In the first one, it was written that the Aseevs would take George (Mura, as Marina called him) to their place. She addressed the second to the “evacuees”, asking them to check whether Georgy had reached the Aseevs and whether she was buried alive. The third note contained an appeal to her son, in which she asked for forgiveness and said that she was confused.

    

15. In the early 90s, Alexy II nevertheless gave a blessing, and Tsvetaev was buried, although suicides are not recognized by the church. The patriarch made such a decision because of the appeal to him large group believers led by deacon Andrei Kuraev and Anastasia Tsvetaeva, the sister of the poetess.

    

Marina Tsvetaeva, whose brief biography is full of events, is today considered one of the best Russian poets. Her life and work is widely known not only in Russia, but throughout the world. Today we will talk about this amazing woman with a truly "poetic" fate.

Childhood and youth

One of the key poets of the Silver Age, Marina Tsvetaeva was born on October 8 (September 26, old style) 1892 in Moscow. The Tsvetaev family had a direct or indirect relationship to art for several generations. For example, Marina's dad, Ivan Vladimirovich, founded the Moscow Museum of Fine Arts. Mother, Maria Main, studied with the famous pianist Anton Rubinstein and was herself a famous pianist.

Due to her mother's illness, the family moved frequently. Marina usually spent summers with her sister Anastasia and her parents in Tarusa. Then the family lived abroad for a long time. Marina studied in Moscow at the private women's gymnasium M.T. Bryukhonenko, in connection with moving, was also educated in boarding schools in Lausanne (Switzerland) and Freiburg (Germany), a French boarding school. Listened to at the age of 16 short course on Old French Literature at the Sorbonne (Paris).

After the death of his mother in 1906, the family returned to Russia. Ivan Vladimirovich carefully monitored that his daughters received better education and were not too lazy to learn languages.

The beginning of a creative path and acquaintance with Sergei Efron

Marina wrote her first poems back in six years old. The mother encouraged her daughter's passion for languages ​​and art, however, Maria saw her eldest daughter as a musician. Marina wrote poetry in 3 languages: in addition to her native Russian, also in French and German.

In 1910, with her own money, Marina published the first collection of poems - "Evening Album". Although it included her school, still very childish works, they immediately attracted the attention of poetic circles, including such famous poets as Maximilian Voloshin, Nikolai Gumilyov and Valery Bryusov. Following the first collection comes the first critical article Marina "Magic in the verses of Bryusov".

In 1911, Marina went to the Crimea to visit M. Voloshin. There she met Sergei Efron, whom she married a few months later. The first year of marriage was very eventful: in 1912, the couple had a daughter, Ariadne (Alya), in addition, Marina's second collection of poems, The Magic Lantern, was published, which included diverse youthful compositions.

No matter how busy the days were, Tsvetaeva wrote poetry regularly - several hours a day. In addition to poetry, Marina also wrote articles, prose and made translations, which brought the bulk of the money to the family. Following the first two comes the collection "From Two Books" (1913). It feels the influence of the poet's social circle (Tsvetaeva emphasized that she was a poet, not a poetess), namely M. Voloshin, V. Bryusov and N. Nekrasov. On this collection, Tsvetaeva's early years are considered complete.

Acquaintance with Sofia Parnok

Marina Tsvetaeva, whose brief biography contained a lot, was a very loving nature. She constantly fell in love with both men and women. Her best poems, which are on everyone's lips, were written precisely in a state of love or a strong emotional shock - without this, the poet could not create.

In 1914, Marina met the poetess and translator Sophia Parnok and became very interested in her. She actually left the family, leaving little Alya to Sergei, who suffered greatly from her betrayal. A stormy, scandalous romance, which everyone knew about, lasted until 1916. After a two-year absence and long apologies, Marina returned to her husband, and the agony of parting with Sophia resulted in a cycle of poems "Girlfriend".

Civil War period

After returning to her husband in 1917, another daughter appeared in the family - Irina. At that time, the revolution began. Sergei fought on the side of the White Army, and Marina lived with her children in Moscow, in Borisoglebsky Lane. There was no money, she sold personal items in order to somehow make ends meet. Due to straitened circumstances, she gave her youngest daughter to an orphanage near Moscow, where she died at the age of 3, which Marina did not forgive herself until the end of her life.

In the same period, the poet met the famous Russian theatrical figure, director and writer, Prince Sergei Volkonsky, whose friendship was fruitful and inspired her until the end of his life in 1937. It was during this period that Tsvetaeva, whose poems were never received in an emigrant environment recognition at that time, wrote several romantic plays. The poems “Tsar Maiden”, “Egorushka” and on the “Red Horse”, as well as the cycle of poems “Swan Camp” also belong to this period. The latter was written under the influence of the revolution and imbued with sympathy for the "White Army".

Wanderings in exile

Sergei Efron, after the defeat of Denikin's army, fled abroad and became a student at the University of Prague. In his absence, Marina experienced several more passionate romances, but still decided to also move abroad after her husband managed to contact her.

In May 1922, Marina Tsvetaeva, together with her daughter Ariadna, finally received permission to leave. At first they briefly stopped in Berlin, and after that they lived for 3 years on the outskirts of Prague. Sergey studied, Marina wrote and translated. Translations continued to be the main source of income, and author's evenings were added to them.

Although Marina tried very hard to improve relations with her husband, she begins to new novel- with Konstantin Rodzevich, a sculptor and, in addition to everything, a close friend of Sergei. It is he - lyrical hero her poems "The Poem of the Mountain" and "The Poem of the End", they are dedicated to him. In 1925, Marina gave birth to a long-awaited son, Georgy (she called him Moore), hoping to drown out her guilt for her daughter who died of starvation. Although many thought otherwise, Marina emphasized that this child was born from Sergei.

After the birth of their son, the couple moved to Paris, where Marina was overwhelmed by the atmosphere of persecution and innuendo. S. Efron was suspected of participating in a conspiracy against Trotsky's son, Lev Sedov. During this period, Tsvetaeva corresponded with Boris Pasternak, with his filing begins communication with Rainer Maria Rilke, which ended with the death of the poet, without lasting even a year. When the news of V. Mayakovsky's suicide reached Marina, she reacted very painfully. In 1930, the Mayakovsky cycle appeared.

In emigration, Tsvetaeva's work is still not appreciated. But it was during this period that she grew up and gained fame as a prose writer. It was her prose of that period (“My Pushkin”, “The House at the Old Pimen”, “Mother and Music”, “The Tale of Sonechka”, “Living about the Living”, etc.) that fed the family. Almost all the poems written during that period were published after the poet's death. The only and last lifetime collection poems of that time - "After Russia", published in 1928.

Return to the USSR

Marina Tsvetaeva, whose brief biography is replete with misfortunes, is faced with another tragedy. Ariadne was allowed to return to the USSR first, she went in 1937 and was the first to be arrested - on August 27, 1939. Following her, S. Efron fled from Paris to Moscow, being embroiled in a political murder - he was arrested a few months after his daughter, 10 October. Less than a week later, S. Efron was shot at the Lubyanka. Alya survived - after 15 years of imprisonment and exile, she was rehabilitated. Marina returned to her homeland last. Upon her return, she lived in the suburbs at the NKVD dacha located in Bolshevo.

The end of life's journey and the mystery of the grave

The period after returning to the USSR was the least filled with poetry - Marina was actively engaged in translations. Before being evacuated to Yelabuga, she was just translating Federico Garcia Lorca. The reason for the evacuation was the war. On August 18, 1941, Marina and her son arrived in Yelabuga with the intention of moving to Chistopol, where there were already many evacuated writers. But it didn’t come to that: on August 31, 1941, Marina Tsvetaeva was found hanged in the hallway of the Brodelshchikovs’ house. She left 3 suicide notes: for the son, the Aseev family and those who will deal with her funeral. Tsvetaeva's life was short and very scandalous - only 49 years old.

Interestingly, the exact location of the grave of Marina Tsvetaeva is not known. She was buried on September 2, very quietly, without attracting too much attention, in one of the unmarked graves of the Yelabuga cemetery. Later, a tombstone was erected, which is now considered official place burial.

Museum of Marina Tsvetaeva

Marina Tsvetaeva, whose brief biography is full of events, left behind a very large poetic legacy, which was deservedly appreciated after her death. Several monuments were erected to her, and many poems turned into beautiful romances. To date, many posthumous collections of works by Marina Tsvetaeva have been published, which did not see the light during her lifetime - mostly poems written in exile and upon returning to Russia.

Today there is not one museum of Tsvetaeva Marina, but as many as 8. Some of them are also officially museums of the entire Tsvetaeva family or only the sisters Marina and Anastasia Tsvetaeva. In the photo - the Museum of Marina Tsvetaeva in Moscow, in Borisoglebsky lane.