The theme of love in Tsvetaeva's lyrics. The overarching theme of love in the lyrics of M.I. Tsvetaeva. Jealousy, the constant companion of love and separation, also did not remain aloof from Tsvetaeva’s lyrics. Lines about jealousy touch no less than lines about tender feelings, and

It is impossible to imagine the heroine of Tsvetaeva’s lyrics outside of love, which would mean for her outside of life. Premonition of love, expectation of it, disappointment in a loved one, jealousy, pain of separation - all these states of Tsvetaeva’s heroine are captured in love lyrics in numerous nuances. It can be quiet, reverent, reverent, tender - and reckless, spontaneous. At the same time, she is always internally dramatic.

The young heroine feels with particular acuteness the variability and captivating nature of every moment. The desire to remain in the memory of a loved one is heard, for example, in the poem “Inscription in the Album” (1909-1910):

Let me be just a verse in your album,

Barely singing like a spring...

So be it.

But in a half-languor

You're hanging over the page...

You will remember everything...

Can you hold back your scream...

Let me be just a verse in your album!

Love never becomes a serene delight for the lyrical heroine. In love, she asserts her right to act. She is decisive and uncompromising both in affirmation (“I will conquer you from all lands, from all heavens...”) and in denial (“Gypsy passion of separation! As soon as you meet you, you’re already rushing away!”). “About this” Tsvetaeva writes the tragic “Poem of the Mountain”, “Poem of the End” (1924), and lyrical miniatures of an almost diary nature:

And in the confinement of winter rooms

And the sleepy Kremlin -

I will remember, I will remember

Spacious fields.

And the light country air,

And noon and peace, -

And a tribute to my feminine pride

Your male tears.

Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of her feelings makes her love all-encompassing. True feeling, according to Tsvetaeva, lives not only in the innermost depths of the soul, but also permeates the whole the world. Therefore, the very phenomena of this world in the heroine’s mind are often connected with the image of her beloved. This is evidenced, for example, by the 1923 poem “Builder of Strings...”:.

...(In this June

You cry, you are the rain!)

And if there is thunder on our roofs,

Rain - in the house, downpour - completely, -

So you are writing a letter to me,

Which you don't send.

Your brain is moving like poetry...

The movement of one human heart to another is a natural part of existence, an immutable law of life. The conditionality of human connections by this law is emphasized in the poem “The world began in the darkness of nomadism...”. (1917), where the gravity of hearts, the search for protection and peace, the search for warmth are compared with the journey of stars and trees.

Tsvetaeva’s heroine is convinced that feelings have enormous power; they can be controlled by distance and time. In the poem “Nobody took anything away...” (1916) she writes:

More tender and irrevocable

No one looked after you...

I kiss you - through hundreds

Years of separation.

The heroine is characterized by the desire to overcome all the obstacles that stand in the way of feelings, to overcome the influence and pressure of circumstances. (Let us remember Pushkin’s: “Love and friendship will reach you / Will reach you through gloomy gates...”) Concentration of the soul, immersion in love is an important feature of the lyrical heroine. She places too high a value on herself and others to be content with the “average temperature” of passions.

However, Tsvetaeva’s love lyrics reveal to us a soul that is not only rebellious and self-willed, but also unprotected, vulnerable, and yearning for understanding. She urgently needs the participation of a loving heart:

Unexpired tenderness is suffocating.

Even if you fall in love with me, I’ll accept it!

Indifferent friend! -

So scary to listen to

Black midnight in an empty house!

Tsvetaeva’s theme of failed love takes on a tragic sound. The main drama of love for the heroine is the “clearing up” of souls, non-meeting. Two people destined for each other are forced to part. Many things can separate them - circumstances, people, time, impossibility of understanding, lack of sensitivity, mismatch of aspirations. One way or another, too often Tsvetaeva’s heroine has to comprehend the “science of parting.” This is also stated in the 1921 poem from the “Separation” cycle:

It's getting better, it's getting better

Wring your hands!

There are not miles between us

Earthly - separations

Heavenly rivers, azure lands,

Where is my friend forever already -

Inalienable.

Only in other ways better world- in the world of “intentions,” as Tsvetaeva puts it, it is possible to gain the fullness of feeling: “not here, where it is crooked, / but where it is straightened.” Only there everything that has not come true comes true. And when earthly life separates people who need each other (“And he will not look back / Life is steep-browed! / There is no date here! / There is only a farewell here...”), Tsvetaeva, with all the energy of her poetic “I,” rebels against this. Thus, in one of the most dramatic poems about love - “Distance: miles, miles...” (1925) we hear not a powerless complaint or lamentation, but an angry, furious cry. The lines of the poem sound not like a list of losses, but like an accusation. The poet's word confronts the terrible elements of the destruction of human connections.

Let us dwell in more detail on two poems - “For Joy” (collection “Magic Lantern”) and “Love! Love! And in convulsions, and in the coffin...” (1920).

In the first poem, Tsvetaeva gleefully proclaims the joy of being. Love extremely sharpens the perception of the world. The heroine in love sees poetry in everything - in the mysterious “dusty roads” that go into the distance, remembering many travelers, and in the short-lived charm of “huts for an hour”, and in the fabulous “animal dens”, and in captivatingly beautiful, like ancient music, “ palaces." Love gives her a feeling of fullness of life: “Dear, dear, we are like gods: / The whole world is for us!” The certainty that for lovers, home is everywhere, home is the whole world, sounds victorious here! It seems to them that everything around them was created for them alone, it’s easy for them everywhere, and that’s why the heroine exclaims with such delight: “We are at home everywhere in the world.” It is love that returns to the heroine her childhood sense of power over the world. Hence the rejection of the “home circle”, because at this moment “the open space and greenery of the meadow” are more valuable to her. At this moment it is so important for her to feel freedom, to see the rainbow palette of existence, to feel the spaciousness of her feelings, thoughts, her heart, her soul. She is captured and enchanted by love, and everything else seems unimportant, insignificant. While she does not want any other captivity - even the captivity of a cozy home - except for the sweet, happy, selfless captivity of love: “Dear, dear, with each other / We are forever in captivity!”

The second poem can be called a kind of oath of fidelity to love:

And in convulsions, and in the coffin

I’ll be wary - I’ll be seduced - I’ll be embarrassed - I’ll rush.

Oh dear! -

Not in a grave snowdrift,

I won’t say goodbye to you in the clouds.

For a heroine endowed with a warm heart, love is also an opportunity for complete self-expression and self-disclosure. This is the wealth of the soul, which she is ready to generously and recklessly share, seeing precisely this as the purpose and meaning of her existence: “And that’s not why I was given a pair of beautiful wings / Given to keep pounds on my heart!” Love, according to Tsvetaeva, liberates the soul, gives a feeling of inner freedom, and rediscovers a person himself. Hence the proud confidence: “Swaddled, eyeless and voiceless / I will not increase the miserable settlement.” Love reveals enormous spiritual strength - strength that can withstand death itself:

Elastic body

With a single wave from your shrouds,

Death, I'll knock you out! -

Miles per thousand in the area

The snow has melted - and the forest of bedrooms.

Love is eternal; according to the poet’s thoughts, it is fused with the world of nature and art, since it is the embodiment of the creative principle of existence. Love cannot die - it is eternally reborn, being transformed with inspiration. Even if a loving person leaves earthly life, his love remains in this world so that, “laughing at decay, rise up in verse - or bloom like a rose!”

Another sacred theme of Tsvetaeva’s lyrics is the theme of love. I don’t know another poetess who would write about her feelings like that.

From seduction to disappointment - such is the “love cross” of Tsvetaeva’s heroine; passions and characters were revealed in poetry, images of living people were completely destroyed in his mind. The only person whose image, neither in life nor in poetry, was not only not destroyed, but did not fade at all, was Sergei Efron. “I wrote on a slate board...” is the title of a poem dedicated to my husband. In it, Tsvetaeva confesses her love: the fourfold repetition of the word “love” speaks of the desire for this feeling, of joy, of happiness:

And finally - so that everyone knows! -

What do you love! love! love! love! -

Signed with a heavenly rainbow.

The earth is not enough for her, she needs the sky so that it can hear and know about her love. In the last lines of the poem, Tsvetaeva vows to perpetuate her husband’s name:

Unsold by me! - Inside the ring!

You will survive on the tablets.

A poet is always an enthusiastic person; a poet, in love, forgets about everything in the world except the person whom he has chosen as his half. Marina Tsvetaeva herself created the person she loved, created him the way she wanted to dress him up and was broken when this person could not withstand her onslaught of feelings, tension in relationships, the state of “always being on the crest of a wave.” We know that Tsvetaeva is not easy in relationships with people, this is her essence, her condition. She gave herself entirely to love, without reserve, without looking back. In the poem of the cycle "N.N.V." "Nailed", dedicated to Vysheslavtsev, a graphic artist, most interesting person, the apotheosis of unheard-of, grandiose love, not afraid of death, is given. Almost every line here sounds like a formula:

Nailed to the pillory

I will still say that I love you.

...You won’t understand, my words are small! -

How little shame I have for the pillory!

(Nailed, 1920)

No collision can be equal to this love, for which the heroine will sacrifice everything:

What if the regiment entrusted me with the banner,

And suddenly you would appear before my eyes -

With another in hand - petrified like a pillar,

My hand would release the banner...

Tsvetaeva's heroine is ready to die for love; being a beggar, she is not afraid of losing blood, because even in an unearthly life - in the land of “silent kisses” - she will love her chosen one.

Tsvetaeva contrasts the love of a mother for her son and the love of a woman for a man, believing that even a mother is not capable of loving her child as much as a woman loves a man, and therefore the mother is ready to “die” for her son, and she is ready to “die.”

When on earth, ordinary life a woman loves a man, she tries to be proud, even if it is very difficult for her, not to humiliate herself, not to sink to a state where the man himself will be unpleasant to be around.

"Trend it" last part- “Below your feet, Below the grass,” she did not sink, she did not lose her pride (what is pride - when you love?!) because she was nailed by the hand of her beloved - “a birch tree in the meadow.” She is not afraid of gossip and condemnation: “And not the roar of crowds - It’s the pigeons cooing early in the morning...”

The third part of this poem differs from the first two: it has six couplets, of which the first and last stanzas sound like a hymn of love. A hymn to Tsvetaeva’s love, for every woman in love is capable of “being - or not being”, for her, if “to be” - then with love, beloved, if “not to be” - then not to be at all:

You wanted it. - So. - Hallelujah.

I kiss the hand that hits me.

...With cathedral thunder - to strike to death! -

You, a scourge that flew up like white lightning!

(Nailed, 1920)

Lightning - it kills, it is instantaneous, but dying at the hands of a loved one, apparently, is happiness for Tsvetaeva’s heroine, which is why there is an exclamation point at the end of the line.

Tsvetaeva dedicated a few words to her husband Sergei Efron. Tremendous human devotion and admiration are expressed in the poem “I wear his ring with pride!”

It is thin with the first thinness of its branches.

His eyes are - wonderful - useless! -

Under the wings of open eyebrows -

Two abysses...

(to Sergei Efron, 1920)

Just a boy - he was eighteen years old - he was a year younger than Marina. Tall, thin, slightly dark. With a beautiful, delicate and spiritual face, on which huge bright eyes radiated, shone, and were sad:

There are huge eyes

Colors of the sea...

(to Sergei Efron, 1920)

Family, “Efron’s” eyes - the same were in Seryozha’s sisters, and then in daughter Tsvetaeva’s. “A stranger enters the room, you see these eyes and you already know - this is Efron,” said one artist who knew them all in Koktebel.

Maybe it all started with a Koktebel pebble? Many semi-precious stones were hidden on the Koktebel beaches; they dug them up, collected them, and were proud of each other about their finds. Be that as it may, in fact, Tsvetaeva connected her meeting with Seryozha with the Koktebel stone.

“1911. After measles, I had my hair cut. I was lying on the shore, digging, Voloshin Max was digging nearby.

Max, I will only marry the one from all over the coast who can guess what my favorite stone is.

Marina! (Max's insinuating voice) - lovers, as you may already know, become stupid. And when the one you love brings you (in the sweetest voice) ...a cobblestone, you will quite sincerely believe that this is your favorite stone!

...With a pebble - it came true, because S.Ya. Efron...almost on the first day we met, he opened it and handed it to me - the greatest rarity! - ...a carnelian bead, which is still with me to this day. "

Marina and Seryozha found each other instantly and forever. Their meeting was what Tsvetaeva’s soul longed for: heroism, romance, sacrifice, high feelings. And - Seryozha himself: so handsome, young, pure, so drawn to her as to the only thing that could tie him to life.

At the beginning of her journey, Marina couldn’t wait to sculpt her hero according to the image created by her imagination. She projects onto Seryozha a reflection of the glory of the young generals - the heroes of 1812, of ancient chivalry; she is not only convinced of his high purpose - she is demanding. It seems that her early poems addressed to Seryozha are commanding, Tsvetaeva strives, as it were, to curse fate: so be it!

I defiantly wear his ring

Yes, in Eternity - a wife, not on paper. -

His overly narrow face

Like a sword...

Tsvetaeva begins a poem in which she draws a romantic portrait of Seryozha and makes wishes about the future. Each stanza of it is a step leading upward to a pedestal - or a scaffold? - last lines:

In his person I am faithful to chivalry.

To all of you who lived and died without fear! -

Such - in fatal times -

They compose stanzas and go to the chopping block.

(to Sergei Efron, 1920)

She could not yet imagine that “fateful times” were just around the corner. There is no doubt that I felt like an elder, an adult next to this young man. Having fallen in love with Seryozha - herself a recent teenager - Marina accepted his pain and responsibility for his fate. She took him by the hand and led him through life. But if she herself was out of politics, then Efron went to fight on the side of the White Army, although according to the logic of family tradition, it was more natural for Sergei Efron to end up in the ranks of the “Reds”. But here Efron’s mixed origin also intervened in the turn of Fate. After all, he was not only half Jewish - he was Orthodox. How did Tsvetaeva miss the word “tragically”?

There was a tragic look in his face

Two ancient bloods...

(to Sergei Efron, 1920)

Why is it tragic? Did he himself feel the duality of his position as a half-breed and suffer from it? And wasn’t that what made the word “Russia”, “my Russia” sound more painful?

The tragedy of the situation lies in the fact that the choice he made was not final. He was tossed from side to side: the White Army, the departure from volunteerism, the feeling of his “guilt” before the new Russia... For now, in the summer of 1911, the future was depicted as a happy fairy tale. Tsvetaeva experienced a huge turning point in her life: a loved one appeared! - who needed it. Therefore, the poem ends with a stanza that sounds almost like a formula:

In his person I am faithful to chivalry.

Like any poet, the theme of love could not bypass Tsvetaeva’s work. Love for her is the strongest feeling on earth. Her heroine is not afraid to speak boldly about her feelings, and is not afraid of the shame associated with declaring her love. Marina Tsvetaeva dedicated several lines to her husband, Sergei Efron. The height to which Tsvetaeva raised her husband in her poems could only be sustained by an impeccable person. She never addressed any real person with such exactingness - except perhaps to herself; she never raised anyone so high. From seduction to disappointment - this is the “love cross” of Tsvetaeva’s heroine.

All poems by M.I. Tsvetaeva's works are imbued with a magical and wonderful feeling - love. She was not afraid to open her feelings and experiences to the whole world. She sincerely talks about the love she experienced, about how she loved someone. Women still read it love lyrics, because Tsvetaeva in her poems managed to convey those feelings that are familiar to every woman.

She wrote about that love that you want to shout to the whole world, sharing your joy with everyone. The theme of unrequited and unrequited love is also often encountered. The lyrical heroine speaks of her love as a hopeless feeling that still will not bring long-awaited happiness. The woman in Tsvetaeva’s lyrics is a strong personality, capable of much for the sake of her love. Most likely, this is exactly what the poetess herself was like.

There is also a place of jealousy in the lyrics. She always walks next to love. In any case, all of Tsvetaeva’s poems convey feelings experienced by many people. In each work the reader finds something of his own, something that he did not dare to talk about or tell anyone about. Love is an eternal theme, it will never die. Therefore, Tsvetaeva’s lyrics will live forever and stir the most intimate feelings in the souls of readers.

Almost every poet has poems on the theme of love, which everyone understands in their own way. So, V.V. For Mayakovsky, love is tragic; for A. Blok, this feeling is like a mysterious “stranger”, cut off from the world of vulgarity, the embodiment of pure beauty. How is the theme of love revealed in Tsvetaeva’s lyrics?

The inherent desire of romantics for re-creation, for a sharply contrasting vision of the world, is clearly expressed in the love lyrics of M. Tsvetaeva. Everywhere we see Shakespearean intensity of feelings. M. Tsvetaeva called the poet “a man with a thousand people.” Hence the maximalism in love inherent in both the poet himself and, of course, her lyrical heroine. “After all, I am not for life. Everything I have is on fire! “I am a ragged person, and you are all in armor,” she wrote bitterly in 1923 to the young poet Bachrach.

The motive of suffering certainly accompanies the theme of love in the poetry of M. Tsvetaeva. The romantic Tsvetaeva wanted to understand and accept earthly life through love, so she puts her beloved on a pedestal, idealizes him, but then inevitably follows the drama of the collapse of the image created by the power of her imagination. In “Yesterday I looked into your eyes,” the lyrical heroine recalls how her beloved “Yesterday—he was lying at her feet!” Equated with the Chinese state! , and now he left her in the frozen steppe. The lyrical heroine refers to love as a stepmother, from whom “Do not expect either judgment or mercy.”

Love in the poetess’s poems is both imaginary and real. In the poem “Nobody Took Nothing Away,” dedicated to Osip Mendelshtam, love is only a figment of Tsvetaeva’s imagination, but she also has real love, described in poetry. This is a meeting between Tsvetaeva and her husband, which seemed to be orchestrated by fate itself, their love at first sight and a spiritual connection that lasted until the end of their lives. This very “real” love in Tsvetaeva also acquires ideal features. In a poem "S.E.", dedicated to her husband, from the very first lines she includes her relationship with her beloved in the mainstream of the eternal romantic theme of confrontation with the philistine world.

Tsvetaeva's love lyrics highest degree passionate, she was at the same time deeply tragic from the constant feeling of loneliness that arose in her, the absence of an interlocutor who would be a match for herself.