Motives of love lyrics. The theme of love in the late work of Marina Tsvetaeva Tsvetaeva theme of love

As for any woman, for Marina Tsvetaeva love was an important part of being, perhaps the most important. It is impossible to imagine the heroine of Tsvetaeva's lyrics outside of love, which would mean for her - outside of life. A premonition of love, expectation of it, prosperity, disappointment in a loved one, jealousy, pain of separation - all this sounds in Tsvetaeva's lyrics. Her love takes any form: it can be quiet; trembling, reverent, tender, and maybe reckless, spontaneous, frantic. In any case, she is always internally dramatic.

The young heroine Tsvetaeva looks at the world with wide-open eyes, absorbing life at all times, opening up to her. It's the same with love. Clarity, prudence are incompatible with a sincere, deep feeling. To give everything, to sacrifice everything - this is the only law of love that Tsvetaev accepts. She does not even strive to win her beloved, it is enough for her to be "just a verse in your album."

Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of feelings makes her love all-embracing, permeating the entire world around her. Therefore, even natural phenomena are often associated with the image of a loved one:

You furrow your brain like a verse ...

The movement of one human heart to another is an immutable law of life, a natural part of being. And if in other people, separation often weakens feelings, then in Tsvetaeva it is the opposite. Love intensifies a thousandfold away from the beloved, distance and time have no power over it:

Delicate and irrevocable

Nobody looked after you ...

I kiss you through the hundreds

Disconnecting years.

Parting, parting, failed love, unfulfilled dreams are a frequent motive in Tsvetaeva's love lyrics. Fate divorces two people destined for each other. Many things can become the reason for parting - circumstances, people, time, impossibility of understanding, lack of sensitivity, mismatch of aspirations. One way or another, Tsvetaeva's heroine too often has to comprehend the "science of parting." This tragic perception of the world is reflected in the best possible way in just two lines of the famous poem:

About the cry of women of all time:

"My dear, what have I done to you??"

Here is the age-old grief of all women in the world - Tsvetaeva's contemporaries, women who died long before her and were not yet born - and their own suffering, and a clear understanding of doom. This is a poem about when one of the two leaves, and there is an even more difficult parting - by the will of circumstances: "We were smashed - like a deck of cards!" Both separations are difficult, but neither has the power to kill feelings.

Jealousy, the constant companion of love and separation, also did not stay away from Tsvetaeva's lyrics. Lines about jealousy touch no less than lines about tender feelings, but they sound a hundred times more tragic. The most striking example of this is "Attempt at Jealousy". Along with the torment characteristic of Tsvetaeva from the loss of love, there is so much bile, so much bitter sarcasm that the author of the lines appears in a completely new light. She has a thousand faces, and you never know which one will appear in the next poem.

The image of the lyrical heroine in Tsvetaeva's work is twofold. On the one hand, this is a woman full of tenderness, vulnerable, thirsting for understanding ("Underived tenderness - strangles"), on the other hand, a strong personality, ready to overcome all obstacles and resist even the whole world, defending her right to love and happiness. Both the one and the other appearance are two sides of the same coin, a single whole, appearing in different guises. A heroine with these traits is characterized by a concentration of the soul, immersion in love until complete dissolution. At the same time, she is not subject to self-destruction and maintains the integrity of her personality. In all this - Tsvetaeva herself. Images, feelings are not far-fetched, since sincerity is the poetess's main weapon.

But one should not conclude that in Tsvetaeva's love lyrics, the main place is occupied by failed love, unrequited or rejected feelings. Her poems are like life itself; they are both hopeless and full of hope, both gloomy and light. Sometimes the heroine appears, full of serene happiness and the feeling of a holiday, breathing life itself with all her chest:

Honey, honey, we are like gods:

A whole world for us!

And it is no longer an embittered woman, tormented by jealousy, who looks at us, but a young girl, reveling in love, full of unspent tenderness.

Love never dies, it just reincarnates, takes on different guises and is forever reborn. This constant renewal for Tsvetaeva is very simple: love is the embodiment of creativity, the beginning of being, which has always been so important to her. Just as she could not live - and not write, so she could not live - and not love. Tsvetaeva belongs to those few people who managed to perpetuate both themselves and their love.

Tsvetaeva's young poetry generously and masterly, in all voices, glorifies earthly love. We hear the voice of a warlike Amazon: "I will win you back from all lands, from all heavens ..." and nearby - the voice of a woman, most tenderly dissolved in her beloved: "I am a village, black earth. / You are a ray and rain moisture to me. / You are the Lord and Master, and I am / Black earth and white paper. " And we also hear the voice of joy and the voice of suffering, inviting coquetry and desperate complaint, an assurance of loyalty and a declaration of freedom ... All the many-sidedness of a love feeling finds its word in the lyrics of young Tsvetaeva.

During these years, she not only glorifies love - in her poetry, it is precisely love that is ecstatically glorified.

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

And I - silver and sparkle.

I care about treason, my name is Marina,

I am the mortal foam of the sea ...

And if loyalty is declared in young Tsvetaev's poems, then this is a special loyalty to one's own heart:

No one rummaging in our letters,

I didn't understand to the depth

How treacherous we are - that is

How true to themselves.

The voice of a young creature trying on the masks of insolent Mariula, "a dancer and a flute-maker", seductive Carmen and even all submissive Manon - this voice rings in the young Tsvetaeva's with a challenge, mischief, flirtatious teasing. And it would be absurd to interpret these gracefully cheerful verses with ponderous seriousness.

Even in difficult years for her - the first years of the revolution - she will write many recklessly cheerful poems in the spirit of Omar Khayyam:

Champagne is treacherous

And still pour and drink!

No pink no chains

Sleep in a black grave.

You are not my fiancé, not my husband,

My head is in a fog.

And always one and the same

Let the hero love in the novel!

To understand Marina Tsvetaeva's work, one must first of all look at her as a person for whom to live meant to love. Her poems about love were not composed, but the soul gave birth to them. Marina Ivanovna brought into poetry the strongest motive of unrequited, offended, lost love, which is accompanied by separation, disappointment, melancholy. If the young Tsvetaeva praised her with happy unrestraint, then in her later work it takes on a tragic tint: a distinctive feature of the poet's love is the initial doom to parting. Tsvetaevskaya love is always a conflict leading to a break. Many people inspired her to work - men and women, she was "madly fond of" them. The meetings could be "face-to-face" and "correspondence", but they all left their mark on her work.

The heroine of Tsvetaeva's love poems is multifaceted - she is the submissive "beautiful, autocratic, not overbearing, voluptuous" Manon Lescaut, the seducer Carmen, whom the poetess makes a couple to Don Juan, the impudent gypsy Mariula, the warlike Amazon, the sorcerer. Love for them is a lightning-fast feeling, an impulse, a separation from the earth.

In the poem "She spread you in a glass" (1918), the author comes to us in the form of a witch who bewitches her beloved: "She spread you in a glass // A handful of burnt hair. I slept.

In her cycle of poems "Don Juan" (1917) Tsvetaeva decided to reflect on who this hero-lover is. And why he took pleasure in conquering women's hearts. The poetess is trying to understand how relationships are built between a man and a woman, and what exactly is important for each of them. We are all accustomed to believing that Don Juan simply collected women's hearts, but Tsvetaeva is convinced that if this literary hero actually existed, then he was a deeply unhappy person. After all, all his life he was looking for the only one that could make him happy. Falling in love with women, Don Juan dreamed of a lasting union, but every time he was disappointed. Fantasizing about relationships with a man of a similar nature, the poetess presented herself in the role of Don Juan's beloved and noted with sadness: "There is nowhere to kiss in my homeland." Russia, in her opinion, is deprived of the romance that Europe possesses, therefore such a womanizer, like the hero of her poems, would have had a very hard time in this northern country. Plus, Russian young ladies are very pragmatic, and it is not so easy to win their hearts with languid serenades and dates under the moon. According to the author, the unfortunate Don Juan would simply have died in snowy and inhospitable Russia from longing and the inability to fall in love with women. However, the poetess herself is ready to succumb to the spell of this amazing person. She notes that her heart has already been won, although this contradicts common sense, because for Don Juan, everything that happens is just an exciting game: “You came to me. Your list is complete, Don Juan! " There is a lot of irony and light sadness in her words, because the poet understands her imaginary lover like no one else. She knows that in his soul he is lonely and suffers from the fact that he does not know how to truly love. It is for this reason that Tsvetaeva openly declares: "Don Juan did not have Donna Anna!" The one who could become for him the one and only, make this cynic and seducer suffer, for whom female feelings mean nothing, and the tears of numerous lovers cause a smug, victorious smile.

The poem "I like that you are not sick with me ..." (1915) is dedicated to the husband of Marina Tsvetaeva's sister, Mavriky Aleksandrovich Mints. It is strange to hear from a young woman who has been married for only three years, a confession of "dislike" for another man. Knowing Marina, who every time fell in love with renewed vigor, selflessly, surrendering to this feeling to the end, you understand why such a poem appeared. But love for her sister, of course, would never have allowed the poetess to cross a certain line, after which, as they say, the earth leaves from under our feet, which in the poetic arrangement sounded like this: "That a heavy globe of the earth will never float away under our feet." ... The heroine of the poem, of course, gives the impression of a woman who is already quite sophisticated in love affairs. After all, she lists many signs of how a love date takes place: meetings "at sunset hours", "walks under the moon", "the sun over our heads." Most likely, she has more than once experienced a strong attraction to a man, which was then replaced by disappointment, and now love for her is akin to an illness. Therefore, with some relief, she even begins her monologue-appeal: "I like that you are not sick with me, // I like that I am not sick with you." The lyrical heroine says that they are in an equal situation, which means that no one will suffer, because, as you know, one always loves, and the other just allows himself to be loved. Such "equality" is even outwardly emphasized by the anaphora at the beginning of the poem. Further, the heroine rather detachedly discusses what advantages “dislike” gives: “I like that you can be funny - // Loose - and not play with words, // And don't blush with a suffocating wave, // Lightly touching the sleeves. // Me I also like that you are with me // Calmly embrace another, // Do not read it to me in hellish fire // Burn for not kissing you. " But suddenly she blurts out: "My gentle one." And one might get the impression that the heroine has already inwardly addressed her imaginary interlocutor more than once. So gradually, without noticing it herself, she begins to speak about the innermost dream of any girl: "That never in the silence of the church // They will not sing over us: Hallelujah!" After all, it is the wedding ceremony that must forever unite loving hearts before God. The final part of the poem is written in a completely different emotional key. This is already an expression of deep gratitude to the person who, it turns out, loves the heroine, without knowing it: “Thank you with my heart and hand // For the fact that you do not know me yourself! - // So love: for my night peace, // For the rarity of meetings at sunset hours, // For our non-walks under the moon, // For the sun is not over our heads. " These endless reasons for gratitude are expressed in anaphoric repetitions: it seems that there are too many of them. But the last two lines with the repeated interjection "alas!" and betray the heroine: here you can hear the unconcealed regret that they did not rush into the maelstrom of feelings with their heads. If at the beginning of her confession the heroine addresses the addressee slightly ironically, emphasizing the distance between them with a polite "you" with a capital letter, then by the end the work takes on a confessional character. It turns out that the heroine is ready to suffer and suffer, if need be.

In Tsvetaeva's poems, love is replaced by jealousy. Ironically, bitterly, the abandoned heroine speaks to her beloved, belittling that other woman, a simple one, for whose sake she was abandoned in the poem Attempt at Jealousy (1924): “How do you live with your friend, - // Easier, isn't it? - Blow of the oar! - // By the coastal line // Soon the memory departed "," How do you live with the idleness // Woman? Without deities? "," How do you live with the earthly // Woman, without sixth // Feelings? // Well, behind the head: happy? // No? In a hole without depths - // How is life, dear? Is it harder, // Is it the same as for me with the other? " The heroine is offended by betrayal, she wants to selfishly hurt her beloved by the fact that she is not left alone, and to emphasize her uniqueness for him, divinity. Reception of the antithesis clearly distinguishes between the image of the abandoned heroine and the image of another woman.

In the poem "Yesterday I looked into my eyes ..." (1920) the cry of the heroine's soul merges with "the cry of women of all times": "My dear, what have I done to you." The sincerity of love breaks against the coldness of the beloved. The lyrical heroine asks, wonders, exclaims, and this line sounds now like a question, now like a reproach, now rhetorically, and at the end of the poem it turns into an exclamation-statement. The first phrase "I looked into my eyes yesterday, // And now - everything looks sideways!" outlines the main theme of the poem, characteristic of Tsvetaeva's work - the relationship between a man and a woman, the disunity of their souls. The rhythm of the poem is agitated. The pulsating refrain conveys the tension, anxiety, confusion of the lyric heroine. Here there is a context of pain from despair and loneliness: "I unclenched both hands at once, // Life fell out - a rusty penny!" The heartbeat accelerates: "O cry of women of all times; // I am standing on trial as a child killer." The heroine speaks more in the past tense, since it is in the past that her real life is, there is no future, there is no love, and without love there is no life: "Where Love retreats, // There comes Death-gardener." The semantics of the poem is built around the opposition of the I-subject and You-object. They are characterized by diametrically opposite qualities: I am stupid, you are smart, I am dumbfounded, you are alive. The blood, as a symbol of a full-fledged life gushing with a spring, turns into water for a thrown woman, her tears are also water, since it is not capable of influencing a man. The lyrical heroine is alone with her misfortune: "And her tears are water, and blood - // Water, - in blood, washed in tears!" Thus, under the talented pen of Marina Tsvetaeva, rather ordinary language means and techniques turn into a bright and strong image of a lyrical heroine, from whom her beloved left, convey confusion of feelings, pain and resentment.

Marina Tsvetaeva is the brightest representative of lyric poetry of the 20th century, along with Anna these two famous women are constantly compared, looking for similarities and differences, common intonations, style and manner of writing poetry. However, upon careful study of this issue, one can find that Tsvetaeva and Akhmatova are completely different creative units: just as ice does not look like fire, Tsvetaev is far from Akhmatov. The heroine of Anna Akhmatova's poems, on whose behalf she writes, is an aristocratic nature, restrained, inclined to analyze feelings, emotions, actions.

Tsvetaeva is not Akhmatova

Tsvetaeva's love lyrics are presented by the heroine, who is very emotional, open, sometimes inconsistent, changeable. She does not engage in contemplation of the world, rarely falls into the autumn mood of unrequited feeling. She gives all of herself to love - without a trace, ardently and emotionally. By the way, Marina Tsvetaeva idolized Anna Akhmatova, was her admirer all her life.

In verse she is different

The love lyrics of Tsvetaeva, whose poems are called the poetic heritage of the 20th century, are twofold: they contain sacrifice and persistence, assertiveness and interrogation. This dichotomy can be traced in many of her works.

The heroine of Tsvetaeva is also different: sometimes she behaves like a woman experienced in love affairs, who looks with a somewhat ironic glance at the manifestation of feelings and behavior towards her by a man in love ("Where does such tenderness come from?"), Sometimes she presents herself as a witch ("To remember not an hour, not a year ... "). From a faithful wife ("SE") can be reincarnated as a mistress who was rejected ("Gypsy passion of separation"). The heroine of Tsvetaeva's poems often tells about men who once loved her, but now their feelings for her have cooled. The narrator in the following lines shows her imperious and capricious nature and makes a rather expressive reproach to the chosen one, who no longer dreams of her and does not praise her as before: "Yesterday I was lying at my feet!"

Poetry. Parsing

Let's try to analyze a few verses in order to identify the features of Tsvetaeva's love lyrics, whose works find a response in the souls of modern poetry lovers, which in itself is not so surprising.

Despite the fact that Marina Tsvetaeva lived at a rather remote time from us, her works are still relevant. After all, the human feelings and emotions that are so figuratively reflected in her work are unchanged. In addition, she makes her fall in love with her poems thanks to her amazing talent to express her attitude in simple and understandable lines to everyone: there is no need to pore over sophisticated words, trying to grasp the essence of this or that poetic work.

Tsvetaeva's love lyrics in the verse "Like the right and left hand" fascinate with their femininity, softness of words, gentle intonation:

We are adjacent, blissful and warm,

Like right and left wing.

But a whirlwind rises - and the abyss lies

From the right to the left wing!

The narrator brings out the similarity, the identity of the souls in the first two lines. And this state of community causes the heroes of this verse to feel a sense of coziness and comfort, which, unfortunately, does not last long. The last sentences of the verse demonstrate the gap formed between two lovers, which becomes an insurmountable barrier for them. Tsvetaeva's words of her heroine seem to confirm the well-known thesis: happiness is not eternal. As much as we want it.

And the look of youth at the world

In the poem "From a Fairy Tale to a Fairy Tale", the adult heroine looks at the world with the surprised gaze of a girl and asks her chosen one to help her always stay young with regard to life and love relationships:

Don't bother me to be surprised

Be like a boy in a terrible secret

And in a rage she is tender

Tsvetaeva's love lyrics in the poem "To be tender, furious and noisy" show the heroine's love of life and the range of conflicting emotions and feelings that overwhelm her. Everywhere the reader sees the use of antitheses by the author, for example: "ever-pink - the paler of all." This poem was written by Tsvetaeva during her stay with her husband and daughter in Feodosia. Apparently, then Tsvetaeva was in a state of knowing the world, accepting life as it is. Therefore, the poetess uses such verbs as "to be" and "to become." The heroine of the verse is interested not only in the world around her, but also in her own feelings: she captures in her words the little things she loves. For example, the bracelet that she sees "on this narrow, this long arm of mine." However, studying herself as if from the outside, the heroine speaks about oblivion, apparently finding in this state also a certain meaning of existence:

And the shine of your hair.

And the verse ends with a philosophical gaze into the future. The author marks his thoughts on the inviolability of the world with the final lines:

And so the moons will melt

And melt the snow

When this young man rushes by

Adorable age.

Tsvetaeva's love lyrics also include reflections on the opposition of the sexes. In the poem Under the Caress of a Plush Blanket, the narrator slowly talks about the “duel of willfulness,” in which it is unclear which of the two lovers is assigned the role of prey, and which is the hunter, and who nevertheless emerged victorious from this confrontation of personalities. She never finds an answer to these questions.

Love and death will depose

Marina Tsvetaeva's love lyrics also touch upon the eternal theme of the struggle between Love and Death. In the verse “Love! Love!" they are fighting a battle in the boundless world of the poetess. The narrator's feelings are changeable: at first she is distrustful, then carried away, later embarrassed. And all this is followed by an escape. In general, this work is about the victory of love over death. For some people, whom the lyrical heroine described with the words "swaddled, eyeless and mute", love is a trap. The heroine of this poetic story, in contrast to them, does not want to "keep poods in her heart." She strives for freedom and is confident that she will achieve this goal, because she has a "pair of beautiful wings."

How varied the love lyrics of M. Tsvetaeva are! Her poems are immeasurable. Her poems are eternal. They are love, which means they are incorruptible.

It is impossible to imagine the heroine of Tsvetaeva's lyrics outside of love, which would mean for her outside of life. A 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. Love can be quiet, trembling, reverent, tender - and reckless, spontaneous.

Moreover, she is always internally dramatic. The young heroine with special acuteness feels the changeability, the fascination of every moment. The desire to remain in the memory of a loved one sounds, for example, in the poem "Inscription in an Album" (1909-1910): Let me be just a verse in your album, Barely singing like a spring ... So be it. But here in the half-leaf you drooped over the page ...

You will remember everything ... You will hold back the cry ... - Let me just a verse in your album! Love never becomes a serene delight for the lyrical heroine. In love, she claims her right to act.

She is decisive and uncompromising both in affirmation (“I will win you back from all lands, from all heavens ...”) and in denial (“Gypsy passion for separation!

"). “About this” Tsvetaeva writes tragic “Poem of the Mountain”, “Poem of the End” (1924), and lyrical miniatures of an almost diary character: 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 female pride Your tears of men. (1917) Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of feelings makes her love all-embracing. True feeling, according to Tsvetaeva, lives not only in the innermost depths of the soul, but also permeates the entire surrounding world. Therefore, the very phenomena of this world in the consciousness of the heroine are often combined with the image of the beloved. This is evidenced, for example, by the 1923 poem “The Builder of Strings ...

":. ... (This June you are crying, you are raining!) And if there is thunder on our roofs, Rain is in the house, downpour is all over, - So you are writing this letter to me, Which you do not send. You are a fraction of the voices of the brook The brain is furrowing like a verse ... The movement of one human heart to another is a natural part of being, an immutable law of life. The conditionality of human ties by this law is emphasized in the poem "The world began in the darkness of the nomad ...". (1917), where the gravitation of hearts, the search for protection and peace, the search for warmth are compared to the wandering of stars and trees.

Tsvetaevskaya's heroine is convinced that feelings have tremendous power, they can be subject to distance and time. In her poem "Nobody took anything away ..." (1916), she writes: Tender and irrevocable. Nobody looked after you ... I kiss you - after hundreds of Separating years.

(1916) The heroine is characterized by the desire to overcome all obstacles standing in the way of feelings, to overcome the influence and pressure of circumstances. (Let's remember Pushkin's: “Love and friendship are up to you / Will reach through the gloomy locks ...

») Concentration of the soul, immersion in love - an important feature of the lyrical heroine. She presents too high a score to herself and others to be content with the "average temperature" of passions. However, Tsvetaeva's love poetry reveals to us a soul not only rebellious, headstrong, but also unprotected, vulnerable, thirsting for understanding. She urgently needs the participation of a loving heart: Friend! Unliving tenderness - strangles. Even if you fall in love with altyn, I will accept it!

An indifferent friend! - It's so scary to listen to Black Midnight in an empty house! (1918) Tsvetaeva's theme of unfulfilled love acquires a tragic sound. The main love drama for the heroine is in the "kneading" of souls, non-meeting. Two people destined for each other are forced to leave. 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 series "Parting": Everything is steeper, more and more abruptly Wring your hands! Between us not Earth miles, - parting Heavenly rivers, azure lands, Where my friend is forever already - Inalienable. Only in a different, better world - the world of "intentions", according to Tsvetaeva, is it possible to gain the fullness of feeling: "not here, where it is crooked, / but where it is adjusted." Only there everything comes true that did not come true. And when earthly life divorces people who are necessary for each other (“And she won't look back / Life is cool-browed! / There is no date here!

/ There is only seeing-off ... "), Tsvetaeva, with all the energy of the poetic" I ", rebelles against this. So, 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 do not sound like a list of losses, but like an accusation. The poet's word is opposed to the terrible elements of the destruction of human ties.

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

In the first poem, Tsvetaeva gleefully proclaims the joy of being. Love sharpens the perception of the world to the utmost. 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 fabulous “animal dens”, and in captivatingly beautiful, like ancient music, “ palaces ". Love gives her a sense of the fullness of life: “Darling, dear, we are like gods: / The whole world is for us!

“The confidence that for lovers is home is everywhere, home is the whole world sounds triumphant here! It seems to them that everything around them was created for them alone, it is easy for them everywhere, and therefore with such delight the heroine exclaims: "Everywhere we are at home in the world." It is love that returns the heroine's childhood sense of power over the world. Hence - and the rejection of the "home circle", because at this moment she is more dear to the "expanse and green of the meadow." At this moment, it is so important for her to feel freedom, to see the rainbow palette of being, to feel the spaciousness of her feelings, thoughts, her heart, her soul.

She is captured and captivated by love, and everything else seems unimportant, unimportant. While she does not want any other captivity - even the captivity of a cozy home - except for the sweet, happy, selfless captivity of love: "Darling, dear, each other / We are forever in captivity!" The second poem can be called a kind of oath of fidelity to love: Love! Love! And in convulsions, and in a coffin I am alert - I am seduced - I am embarrassed - I will torn.

Oh dear! - Neither in a grave snowdrift, nor in a cloudy one will not say goodbye to you. For a heroine endowed with a warm heart, love is also an opportunity for complete self-expression, self-disclosure. This is the wealth of the soul, which she is ready to generously and recklessly share, it is in this that she sees the purpose and meaning of her existence: “And I don’t need a pair of beautiful wings / Dana to keep poods in my heart!” Love, according to Tsvetaeva, liberates the soul, gives a feeling of inner freedom, re-opens a person himself. Hence - the proud confidence: "Swaddled, eyeless and mute / I will not multiply the miserable settlement." Love reveals tremendous spiritual forces - forces capable of resisting death itself: ...

Elastic camp With a single sweep from your veils, Death, knock it out! - Versts per thousand in the area Snow melted - and a forest of bedrooms. Love is eternal, it is, according to the poet, merged with the world of nature and art, since it is the embodiment of the creative principle of being. Love cannot die - it is eternally reborn, 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 blossom with a rose tree! ".

(331 words) Marina Tsvetaeva - Russian poet of the Silver Age. Remarkably, she was free from any canons of the literary direction, that is, her poems did not belong to any existing creative group. However, Tsvetaeva did not aspire to create her own school. It is difficult to attach her poetry to any one style, syllable and theme, because it is quite variegated and diverse: this is love, and politics, and social themes, and nature, and poems-messages. Nevertheless, Tsvetaeva's lyric poems about love evoke the greatest delight among readers, such works open genuine emotions in a person: compassion, and sadness, and delight.

The famous poem of the poetess "I like that you are not sick with me ..." is so familiar to all of us from the film "The irony of fate or with light steam", where she sounded from Nadia's lips to her guitar playing. The poem is really very touching, evokes a little sadness, but does not drive into melancholy, but, as it were, makes you think a little. The phrase "For our non-walks under the moon" evokes mixed feelings, it is not clear - is this good for the lyrical heroine, or is she grieving about what was not? The mood of the work is very lyrical, even kind, although in places it confuses with its ambiguity.

No less heartfelt and well-known poem by Marina Tsvetaeva - "Yesterday still ..." - is the so-called "cry from the heart" of the lyric heroine, who addresses her beloved with a rhetorical question, repeated throughout the text: "My dear, what have I done to you?" ... The heroine does not understand why in an instant her beloved abandoned her and "kisses the other." The words are simple and understandable, as if these are not the poems of the great poetess, but a kind of confession of an ordinary woman who has lost her love.

Another very emotional piece is Attempt at Jealousy. This is also a kind of appeal to the beloved, who betrayed the lyric heroine and now "lives with another." This poem stands out for the fact that it contains a lot of questions that literally provoke emotions, some kind of scandal. It creates colossal energy, and it is read in one breath.

In conclusion, I would like to say that Marina Tsvetaeva is not just a great poet, but also a woman. She has very beautiful and heartfelt poems that will make not only women but also men pretty nervous.