Tsvetaeva's childhood and youth
M.I. Tsvetaeva can rightfully be called the greatest Russian poetess. Her creations cannot leave anyone indifferent; everyone finds in them something that is close to their soul. Tsvetaeva's fate was not easy. She had the opportunity to live and work in an era of terrible social cataclysms. This could not but leave an imprint on her work. Tsvetaeva was born in Moscow on September 26, 1892. The girl's father was a professor at Moscow University and director of the Rumyantsev Museum. The son of a village priest, he grew up in poverty and achieved everything in life on his own.
Marina began writing poetry at the age of six. The girl received an excellent education and knew German and French. Tsvetaeva’s first book, “Evening Album,” was published when the aspiring writer was barely eighteen years old. Immediately, the work of the young girl was highly appreciated by the recognized master of Russian symbolism V.Ya. Bryusov, Acmeism N.S. Gumilev and M.A. Voloshin. In 1912, Marina Tsvetaeva married S.Ya. Efron. This significant event in her life was reflected in poetry.
I wear his ring defiantly!
- - Yes, in Eternity - a wife, not on paper.
- 1912 was a special year for Tsvetaeva. In the same year, her second album, “The Magic Lantern,” was released, and soon her daughter Ariadne was born.
Tsvetaeva’s life during this period was quite happy. She and her family lived in a large, comfortable house and did not need money. The poetess wrote poetry. Tsvetaeva was interested in eternal problems, she thought about life, love, death. In 1913, the poetess wrote a poem:
To my poems, written so early,
That I didn’t know that I was a poet,
Falling off like splashes from a fountain,
Like sparks from rockets
Bursting in like little devils
In the sanctuary, where sleep and incense are,
To my poems about youth and death,
Unread poems! -
Scattered in the dust around the shops
(Where no one took them and no one takes them!),
My poems are like precious wines,
Your turn will come.
It became prophetic in many ways. It so happened that Tsvetaeva’s creations became known and loved by admirers of her work much later. After the Great October Revolution, the life of the poetess changed greatly. Her husband was at the front, and Tsvetaeva had to sell things so as not to die of hunger. The poetess’s home became a communal apartment, and she and her two daughters (the youngest Irina was born in 1917) had to huddle in a small room.
Tsvetaeva had never even thought about the fact that she would someday have to earn her own living. But after the revolution she had to go to work. However, the sophisticated poetess could not get used to the harsh prose of life. Marina Tsvetaeva worked for a short time, then abandoned this idea. In 1919, Tsvetaeva and her daughters found themselves in inhumanly difficult conditions. She wrote about this period as “the blackest, the most plague, the most mortal.” The poetess’s diary entries testify to this: “I live with Alya and Irina... in the attic room that was Serezhina’s. There is no flour, there is no bread, there are 12 pounds of potatoes under the desk, the remainder of a pound lent by neighbors...” Tsvetaeva could not see her children dying of hunger, so she gave them to an orphanage. Here the youngest daughter Irina died of hunger and illness. The poetess took the eldest Ariadne home. A few years later, in 1921, Tsvetaeva received news from her husband. This was the first news in four and a half long years. S. Efron was abroad, Marina decided to go to him.
All this time, Tsvetaeva continued to write poetry. This was the meaning of her life, the only thing left from her former life, happy and carefree. Creativity allowed her to survive during the terrible years. In the period from 1917 to 1921, poems were created that were included in the “Swan Camp” cycle. In them, Tsvetaeva speaks with love about the white movement. In 1921-1922 the book “Versts” was created. In 1923 - the poetry collection “Craft”. At the same time, M. Tsvetaeva wrote about her contemporaries, whose work was very close to her: about A.A. Akhmatova, S.Ya. Parnok, about A.A. Block.
In her work, the poetess turned to real historical figures and fictional literary characters, for example, Don Juan. She identified herself with the heroes of her works. Ordinary life interested her little. However, harsh reality required serious decisions. In 1922, Tsvetaeva and her daughter left for Berlin. Soon the family moved to the Czech Republic, where they lived for several years. In 1925, Tsvetaeva’s son Georgy was born; his relatives called him Moore. After some time, the family moved to Paris.
Tsvetaeva had very difficult relations with emigrants from Russia. The poetess's pride and arrogance led to the fact that conflicts with literary circles were inevitable. Unfriendly relations with her compatriots did not at all contribute to Tsvetaeva’s spiritual comfort. She felt lonely and unhappy. Her family lived in very difficult conditions. There was not enough money even for basic necessities, such as firewood. Marina Ivanovna and her daughter carried bundles of brushwood from the forest. Tsvetaeva recalled: “There were days in Paris when I cooked soup for the whole family from what I could pick up at the market.”
But, despite such difficult conditions, Tsvetaeva continued to write poetry. The following works of the poetess appeared in emigration: a collection of poems “After Russia: 1922-1925” (finished in 1928), “Poem of the Mountain”, “Poem of the End”. In 1925-1926, the satirical work “The Pied Piper” was created; in 1927 - the ancient tragedy "Ariadne". It was published under the title Theseus and Phaedra. In 1938-1939, the poetic cycle “Poems to the Czech Republic” was published. However, most of the works saw the light only after the death of the poetess.
Tsvetaeva's poems did not find their admirers abroad. Therefore, Marina Ivanovna took up prose. In the thirties, the following works were created: “My Pushkin” (1937), “Mother and Music” (1935), “House at Old Pimen” (1934), “The Tale of Sonechka” (1938), memories of M.A. Voloshin (“Living about Living”, 1933), M.A. Kuzmine (“Unearthly Wind”, 1936), A. Bel (“Captive Spirit”, 1934), etc. Tsvetaeva’s prose heritage also includes the poetess’s letters to B.L. Pasternak (1922-1936) and R.M. Rilke (1926).
Tsvetaeva's prose was autobiographical. Marina Ivanovna wrote: “I want to resurrect this whole world - so that they all don’t live in vain - and so that I don’t live in vain!” In 1937, Tsvetaeva’s daughter, Ariadna, went to Moscow. Of course, they tried to dissuade her from this act. But the girl still went to her homeland. Ariadne got a job at a magazine and wrote to her parents that she was doing well. In the same year, Tsvetaeva’s husband S.Ya. Efron was involved in a contract assassination. It was discovered that he was an NKVD agent abroad. After this, emigrant circles completely stopped accepting Tsvetaeva. Even her son felt this hostility. The poetess decided to return to her homeland. In 1939, Marina Ivanovna and her son Georgy went to Russia. In the same year, in August, Ariadne was arrested, and after some time, Tsvetaeva’s husband S.Ya. Efron. Neighbors were arrested before our eyes. Marina Ivanovna was horrified by what was happening in her native country. After the arrest of her husband, Tsvetaeva and her son settled in Moscow. Poet A.A. Tarkovsky recalled that Tsvetaeva “was a complex person...”, wrote: “She was terribly unhappy, many were afraid of her. Me too - a little. After all, she was a little bit of a warlock.” The most talented poetess would have died of hunger if her friends and relatives had not helped her. Tsvetaeva did not know how to earn a living, she did not know how to cope with everyday difficulties. She appealed to the authorities with a request to allocate housing for her. She was told that many people needed housing and there was no way to satisfy her request.
Tsvetaeva went to Butyrskaya and Lubyanka prisons. In one there was a husband, in the other - a daughter. Tsvetaeva’s relationship with her son was very difficult. Marina’s sister, Anastasia Ivanovna, later recalled the relationship between the poetess and her son: “He may have loved her like a bear cub loves a bear, but he did not respect her at all.” When the Great Patriotic War began, Tsvetaeva and her son were evacuated. Tsvetaeva tried to get a job, but she failed. On August 31, 1941, Marina Ivanovna committed suicide. Tsvetaeva wrote to her friends asking them to take care of her son. George's life was short. He died at the front.
The survivor Ariadne, the daughter of the poetess, who went through camps and exile, dedicated her life to the return of Tsvetaeva’s literary heritage.
Tsvetaeva poetess Russian literary
“It’s a rare parent who guesses the fate of their children. It simply does not occur to either father or mother that fate has prepared the future of a brilliant poet for this clumsy, ruddy Musa... However, not entirely so.
The girl was only four years old when Maria Alexandrovna wrote in her diary: “The eldest keeps walking around and muttering rhymes. Maybe my Marusya will be a poet?..” I wrote it down and forgot. And she gave her daughter only sheet music, so Musya scribbled lines and rhymes on randomly found scraps of paper. And the whole point is that Maria Alexandrovna herself is obsessed with music. An extraordinary musician, she dreams of raising her eldest daughter to be a pianist - and will put her at the piano “perilously early” - the girl was not yet five years old.
That’s where this episode at breakfast comes from: wean you off nonsense!
Musya showed extraordinary musical abilities - unlike her younger sister Asya. A full blown blow and what is said to be a “surprisingly animated touch.” Maria Alexandrovna is happy about this, but is in no hurry to praise it. At five years old, the girl almost reaches an octave. “You just need to “reach a little duck!” - she says to her daughter, “with her voice stretching out the missing distance, and so that I don’t get it wrong: - However, she has such legs!”
And Musya has already gotten used to this: after each burst of praise, her mother coldly adds: “However, you have nothing to do with it. The rumor is from God! She reproaches her daughter and “The Blind Musician” Korolenko, and three years old Mozart, and my four-year-old self, who couldn’t be pulled away from the piano. Twice a day Musya climbs onto the martyr's stool in front of the piano. Everyone feels sorry for her, except her mother: her father, the governess, the nanny, even the janitor Anton, who brings wood into the hall to heat the tiled stove, feel sorry for her. The girl plays diligently - for her mother. For her joy and out of fear. And not only in winter! And in the summer, when it’s hot, when everyone is free and goes swimming, or for a walk on the tree stumps, or to Tarusa to the post office...
The metronome, with its protruding steel finger, instilled fear in her with its unstoppable mechanical clicking. The girl hates him and is scared to death. He appears to her as a coffin in which death lives.
Her fantasies are innumerable.
The ribbed leg of the stool on which she sits at the piano, on which she can twirl until she stupefies, is exactly like a plucked turkey neck. The open keyboard of the piano suddenly appears to her as a huge mouth up to her ears - with huge teeth. This piano is just a joker, little Marina thinks, he is a real joker, and not at all brother Andrei’s tutor, although his mother calls him that for his eternal laughter. You can roll along the keys, without moving, as if on a ladder; When pressed, white ones are always cheerful, and black ones are immediately sad. Thunder lives on the left side of the keyboard, small insects live on the right. The notes prevented Musa from playing freely for a long time, but they became friends as soon as one day she imagined them as sparrows on branches - each on their own - and from there they jump onto the keys, each on their own. And when Musya stops playing, the notes return to the branches and sleep there like birds, and like birds, they never fall in their sleep. The word “flat” seems to her purple, cool and a little faceted, and the sign “bekar” is empty, like an empty fool; she draws the treble clef on paper with the feeling of putting a swan on telegraph wires, and the bass clef - which looks like an ear with two pierced holes - she despises... For many years she will not be able to cope with her disgust for her own playing. This was not an aversion to music, because under her fingers for too long something was born that she could not call music.
Music is when the mother sat down at the piano. It was always a joy to listen to her. But to play by yourself... It’s a thousand times more interesting to just look into the black lid of a piano; Having made sure that no one sees, Musya breathes on it, as if on a window glass, and imprints her nose and mouth on the matte surface of the lid...
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION
"SECONDARY SCHOOL No. 10"
ELABUGA MUNICIPAL DISTRICT
Moscow, childhood of Marina Tsvetaeva
Yelabuga, 2012
INTRODUCTION........................................................ .....................................2
CHAPTER 1. THE RED BRUSH LIT THE ROWAN…………… 3
CHAPTER 2. “SOME ONE OF MY ANCESTOR WAS...”………………4
CHAPTER 3. “AH, GOLDEN DAYS!...”……………………………... 5
CHAPTER 4. “MOSCOW! SO HUGE..."…………………..…8
CONCLUSION................................................. ................................10
BIBLIOGRAPHY................................................ ..................eleven
APPLICATION................................................. ................................12
Introduction
The biography of a country and any city consists of the biographies and destinies of individual citizens. The purpose of my work is to describe the childhood of the great poet Marina Tsvetaeva, who left her mark on the history of our city. To achieve this, the following tasks were set:
1. Study the life and work of the poet;
2. Identify materials about the poet’s childhood;
3. Analyze the information received and draw conclusions.
Chapter 1. The rowan tree was lit with a red brush...
Among the most remarkable names in Russian poetry of the twentieth century, we rightly call the name of Marina Tsvetaeva.
Marina Tsvetaeva was born on September 26, 1892 in the capital of our homeland - Moscow. Later she would write about this:
Red brush
The rowan tree lit up.
Leaves were falling
I was born.
Hundreds argued
Kolokolov.
The day was Saturday:
John the Theologian.
The house where Marina was born was “a one-story wooden house, painted ... brown, with seven high windows, with a gate over which a silvery, spreading poplar bent.”
This house with a mezzanine was for Marina a huge magical world, full of secrets.
Chapter 2. “Some ancestor of mine was...”
Marina Tsvetaeva's parents were highly educated people.
“Marina’s father, Ivan Vladimirovich Tsvetaev: scientist, professor, teacher, director of the Moscow Museum, gave the best years of his life to the museum.
Marina loved her father very much and appreciated his drive and strength.
The father introduced the children to the world of art, introduced them to history, philology and philosophy. “The disputes of philologists from my father’s office, like my mother’s piano..., nourished my childhood, like the earth nourishes a sprout,” wrote Marina Tsvetaeva.”
Maria Alexandrovna, Marina's mother, was a musician. She dedicated her life to children and music. Marina Tsvetaeva’s sister, Anastasia, recalled: “Our childhood is full of music. On our mezzanine we fell asleep to my mother’s playing, which came from below, from the hall, a brilliant playing and full of musical passion. Growing up, we recognized all the classics as “mother’s” - “it was mother who played”... Beethoven, Mozart, Haydn, Schumann, Chopin, Grieg... We went to sleep to their sounds.”
Maria Alexandrovna was a passionate person. “After such a mother, I had only one thing left - to become a poet,” said Marina.
Chapter 3. “Ah, golden days!...”
Maria Alexandrovna always wanted her daughter to become a creative person, either an actress, or connect her life with music. Therefore, the rigorous training in music began when Marina was not yet five years old. She was forced to play the piano for four hours a day - two in the morning and two in the evening.
Marina grew up surrounded by music and books. From the age of 4, secret reading began - despite the strict prohibition of the mother - early! German fairy tales became my favorites.
At the same time, Marina began writing poetry. She had no time for music. She played with words; no one cared about the notes. In Maria Alexandrovna’s diary there is the following entry: “My four-year-old Marusya walks around me and keeps putting words into rhymes, maybe she will be a poet?” The mother, knowing about her daughter’s hobby, forbade her to take paper and pencil.
Tsvetaeva began writing poetry at the age of six. She wrote not only in Russian, but also in French and German. At the same age, she started her first homemade notebook, where she wrote poetry, and where the diary began. Everything that Marina wanted to love, she wanted to love alone: pictures, toys, books, literary characters. Throughout her childhood, Tsvetaeva read voraciously, she didn’t even read, but “lived by books.” One of her first poems is called: “Books in red binding”:
From the paradise of childhood life
Friends who haven't changed
Bound in worn red.
A little easy lesson learned,
I used to run to you immediately.
It's too late! - Mom, ten lines!.. -
But, fortunately, mom forgot.
Oh golden times
Oh golden names:
Huck Finn, Tom Sawyer, The Prince and the Pauper! [ 4 , 47 ]
Tsvetaeva’s first poet was Alexander Sergeevich Pushkin. At the age of five, she came across Pushkin’s “Works” in her closet. Her mother did not allow her to take this book, and the girl read secretly, burying her head in the closet. However, she recognized Pushkin even before that: from the monument on Tverskoy Boulevard, the painting “Duel” in her parents’ bedroom, and her mother’s stories. He was the first one she read herself.
In the fall of 1901, Marina, at the age of 9, entered the first grade of the 4th girls' gymnasium in Moscow, where she studied for only a year.
The “happy, irrevocable time of childhood” ended in 1902, when Maria Alexandrovna fell ill with consumption.
In May 1903, Marina and Asya entered the Lacaze boarding house in Lausanne. The atmosphere here was cozy, almost family-like. The girls improved their knowledge of French. A year later, the parents took the girls and settled in Germany. Marina Tsvetaeva falls in love with this country, which her mother also loved.
In 1905, the Tsvetaev family returned to Russia. They lived for some time in Yalta. Then Maria Alexandrovna felt much worse, and she decided to return to her native place. The family moved to a dacha in Tarusa, where Maria Alexandrovna died. Marina Tsvetaeva was only thirteen years old.
After the death of her mother, Marina immediately abandoned her music studies and began to write poetry seriously. During this period, she became closer to Asa. She read her poems to her, and sometimes they read them out loud together. Many poems are dedicated to her, expressing their general moods and experiences. They went to the cinema together. Asya invited school friends to visit, and Marina entertained the company.
Father, as always, was busy. Marina hid all her youthful problems within herself. She had no one to share her teenage problems and experiences with. Besides, she hated her appearance. Her rosy cheeks, round face, and thick build did not correspond to the romantic image that she sought to express in her poetry. Denying herself, she spent hours and days in her room: reading, writing and dreaming.
Marina's character was not easy - both for herself and for those around her. The girl was proud, stubborn, dreamy, shy and adamant.
Marina Tsvetaeva’s studies were irregular and not very successful. After the death of her mother, she moved from one gymnasium to another, and was expelled three times for insolence. Very interesting are the memories of Tsvetaeva’s school friends, which give an idea of her personality:
“...a very lively girl with an inquisitive and mocking look. She had her hair done like a boy's. She was very capable of the humanities and made little effort in the exact sciences. She kept moving from one gymnasium to another. She was more attracted to her older friends than her younger ones...
Marina grew up, and along with her, her talent grew stronger. And in 1910, secretly from her parents, with her own money, she released her first poetry collection, “Evening Album.” For Marina it became the story of her completed childhood.
Chapter 4. “Moscow! How huge..."
Perhaps there is not a single poet who would love this ancient city so much. No matter how hard and bitter it was in some years of her life, she warmly recalled the cozy professor’s apartment, her mother’s stormy passages on the piano, her serene and happy childhood, and her hometown came to mind.
“Moscow for her is Strastnaya Square and the “Pushkin Monument”, as little Marina called it, a favorite place for children’s walks, the Museum of Fine Arts on Volkhonka, which was founded by her father, forty forty golden churches and the marvelous Moscow sky
“Marina Ivanovna forever retained the warmth and comfort of her home at number 8 on Trekhprudny Lane in old Moscow in her soul.
It was here that she became a poet. Her memories turned into beautiful poetry and brilliant prose" [7, 11]
In many of the poems - such as “In the Hall”, “Dining Room”, “Houses of Old Moscow”, “Forgive the Magic House” - the motif of the “Magic House on Trekhprudny” sounds. Later Tsvetaeva called:
You, whose dreams are still unawakened,
Whose movements are still quiet,
Go to Trekhprudny alley,
If you like my poems.
I beg you, before it's too late,
Come see our house!
We do not learn from Tsvetaeva’s poems what the house itself looked like. But we know that next to the house there was a poplar, which remained before the poet’s eyes all his life: This is a poplar! They huddle under it
Our children's evenings.
This poplar among the acacias
Ash and silver colors.
The first lines dedicated to the disappearing “houses of old Moscow” were written by Tsvetaeva back in 1911. This is a youthful sketch, full of love and adoration, but still immature. The title of her poem “Houses of Old Moscow” conveys a sincere love for the ancient city - the city of her childhood.
Conclusion
In the course of this work, I studied materials about the poet’s childhood - I collected facts from the life of Marina Tsvetaeva, and got acquainted with her work.
Marina Tsvetaeva cannot be confused with anyone else. Her poems can be unmistakably recognized - by their special chant and fixed rhythms. Marina Ivanovna left behind a great legacy - poems that reflected her deep nature. And poems about Russia and Moscow supported the author’s spirit.
In conclusion, we can say the following: all the collected material was systematized and presented in a certain sequence.
I think that I achieved my goal - I described the childhood of Marina Tsvetaeva. I hope that the result of my work will be useful and interesting.
I would like the name of this poet to become familiar not only to adults, but also to younger children.
Vulnerable, wise and sad,
Among many there lived one.
And there was a fire burning in my heart,
But he was sad.
Her soul is a pilgrimage:
The life of a wanderer in miracle verses.
The poet's name is Marina
Written in our hearts
I constantly want to return to the poems of Marina Tsvetaeva, each time discovering something new for myself.
Bibliography
Sahakyants, A. Three Moscows of Marina Tsvetaeva[electronic resource]
Krahaleva L.V. Children about Yelabuga. - Elabuga: Elabuga Printing House, 2007.- P.5.
Marina Ivanovna Tsvetaeva. Supplement to the magazine "School Library". - Moscow, 2007.
Tsvetaeva, M. Favorites. - Moscow: Education, 1989. - P. 6- 47
Tsvetaeva, M. Leaves fell over your grave... / M. Tsvetaeva. – Kazan: Tatar Book Publishing House, 1999. – P. 20, 62-63.
Maria Moskovskaya. Rebel Singer [electronic resource]
Pozdina, E. Christmas in the Tsvetaeva family // Good Newspaper. - 2004. - January 13, No. 2. - P. 11
Marina Tsvetaeva // The World of Marina Tsvetaeva[electronic resource]. – http://www.qeocities. com/
Application
Marina Tsvetaeva in 1893. The Tsvetaev family
Trekhprudny Lane
Tsvetaev House
Marina with her father 1906
The Tsvetaeva sisters
Poems by Marina Tsvetaeva
Red bound books
From the paradise of childhood life
You send me farewell greetings,
Friends who haven't changed
In shabby, red binding.
A little easy lesson learned,
I used to run straight to you.
- “It’s too late!” - “Mom, ten lines!”...
But fortunately my mother forgot.
The lights on the chandeliers are flickering...
How nice it is to read a book at home!
Under Grieg, Schumann and Cui
I found out Tom's fate.
It's getting dark... The air is fresh...
Tom is happy with Becky and is full of faith.
Here's Injun Joe with the torch
Wandering in the darkness of the cave...
Cemetery... The prophetic cry of an owl...
(I'm scared!) It's flying over the bumps
Adopted by a prim widow,
Like Diogenes living in a barrel.
The throne room is brighter than the sun,
Above the slender boy is a crown...
Suddenly - a beggar! God! He said:
“Excuse me, I am the heir to the throne!”
Gone into the darkness, whoever arose in it.
Britain's fate is sad...
- Oh, why among the red books
Wouldn't you be able to fall asleep behind the lamp again?
Oh golden times
Where the gaze is bolder and the heart is purer!
About golden names:
Huck Finn, Tom Sawyer, The Prince and the Pauper!
Houses of old Moscow
Glory to the languid great-grandmothers,
Houses of old Moscow,
From modest alleys
You keep disappearing
Like ice palaces
With a wave of the wand.
Where the ceilings are painted,
Mirrors up to the ceilings?
Where are the harpsichord chords?
Dark curtains in flowers,
Gorgeous muzzles
On the centuries-old gates,
Curls inclined towards the hoop
The portraits' gazes point-blank...
It's weird to tap your finger
Oh wooden fence!
Houses with a sign of the breed,
With the look of her guards,
You were replaced by freaks, -
Heavy, six floors.
Homeowners are their right!
And you die
Glory to languid great-grandmothers,
Houses of old Moscow.
Red brush
The rowan tree lit up.
Leaves were falling.
I was born.
Hundreds argued
Kolokolov.
The day was Saturday:
John the Theologian.
To this day I
I want to gnaw
Roast rowan
Bitter brush.
She was born and lived for twenty years (before marriage) in house number 8 in Trekhprudny Lane. If you walk from Pushkinskaya Square (formerly Strastnaya) along Bolshaya Bronnaya, it will be on the right side. Back in 1919, Tsvetaeva wrote prophetically about the future:
With me in my hand - almost a handful of dust -
My poems! - I see: in the wind
Are you looking for the house where I was born - or
In which I will die.
And we walk, search, remember, compare...
On excursions around the city they say that the house where Tsvetaeva lived has not survived. It's right. But it is also true that according to the memoirs of all three Tsvetaev sisters - the eldest Valeria, Marina and the youngest Anastasia, according to the poems of Marina Tsvetaeva and her prose, we are able to imagine their home, perhaps better than many other houses that, although they've squinted and peeled beyond recognition, but they're still standing. Now in the memory of people interested in the history of Russian culture, the history of Moscow, this house lives a special life.
Once upon a time, a long time ago, in the 17th century, the place where Trekhprudny Lane later appeared was the property of the patriarch. There were three deep ponds, which were called Patriarchal. At the end of the 18th century, in a centuries-old park between Tverskaya Street (recently still called Gorky Street), Goat Swamp and Patriarch's Ponds, there was a palace that belonged to the brother of the poet Kheraskov. In 1831, the English Club was located in this palace. (In Soviet times, there was an exhibition “Red Moscow”, which laid the foundation for the Museum of the Revolution that is now located there.) Two ponds were filled up long ago, leaving only one, which many, many years later (already in 1932) was renamed from the Great Patriarchal to the Pionersky. The lane remained Trekhprudny. The development of “empty land” was allowed in this place in the middle of the 19th century. House No. 8, the first owner of which was the Moscow bourgeois Dorofeya Antonovna Smirnova, belonged to the candidate of the Moscow Imperial University Zheleznyak in the sixties of the last century. It was an ordinary one-story wooden house on a stone foundation. The house is “exemplary” - that is, standard construction. It was then that the historian Ilovaisky acquired it, lived in it, and when his daughter Varvara Dmitrievna married Ivan Vladimirovich Tsvetaev, her father gave her this house as a dowry. This was in 1880. She was then 22 years old, Ivan Vladimirovich was 33. He taught at the university in the department of Roman literature of the Faculty of History and Philology. In 1883, their daughter Valeria was born, and in 1890 their son Andrei. Soon after his birth, Varvara Dmitrievna died, leaving her love for herself and her memory forever. In 1891, I.V. Tsvetaev married for the second time - to Maria Alexandrovna Main. Marina Tsvetaeva was born in 1892, and Anastasia in 1894.
Trekhprudny Lane was changing all the time. He also changed under the Tsvetaevs. On the site of Bukhteev’s small shop of “colonial goods”, a six-story house was built; in 1901-1903, on the opposite side, diagonally from the Tsvetaevs’ house, in house No. 9, Levenson’s printing house was erected according to the design of the architect Shekhtel. “Awry from our exes...”, Marina Tsvetaeva will later write. When the Tsvetaevs, after the death of Maria Alexandrovna in 1906, returned to Moscow after a long absence, the building was already standing. Now this printing house is called “Spark of Revolution”.
Many wonderful people have visited the house on Trekhprudny Lane. One day, Pushkin’s son, Alexander Alexandrovich, came there to see Tsvetaev, whose visit, or rather, her childhood impression of this visit, was described by Marina Tsvetaeva in the prose “My Pushkin.” The idea of creating the Museum of Fine Arts was born in this house; his colleagues came here on the affairs of this museum and on the affairs of the Rumyantsev Museum, of which Ivan Vladimirovich Tsvetaev was the director for a long time - the house lived an intense creative life. Agendas of meetings of the Historical, Archaeological Societies, and the Society of Lovers of Russian Literature, of which Tsvetaev was a member, were regularly sent here. University professors, art critics, philologists, and historians came here to (as they said then) “share the conversation.” Even if their conversations did not interest the children, these conversations still created a certain spirit at home.
Anastasia Ivanovna Tsvetaeva many years ago wrote to the author of these lines from a camp in the Far East: “The disputes of philologists from my father’s office (1900 - 1910), like my mother’s piano (all classical music), nourished childhood, like the earth nourishes a sprout...” In her father’s office, A.I. Tsvetaeva recalled, two candles burned under a lampshade until late at night; she asked her father what he was doing, and he answered her: “I’m studying, my dear.” When the elder sister Valeria had already become a teacher at the gymnasium, she lived in a wing of the house in Trekhprudny. She had her own friends who - like us today - discussed the fate of Russia, argued which of the existing parties could save the country. Marina and the silent, handsome brother Andrei went to see their older sister and were interested in the conversations in the outbuilding.
In this house on Trekhprudny Lane, Marina Tsvetaeva, at the large desk that her father gave her, sat over a translation of the romantic play “The Eaglet” by the French poet E. Rostand, and read everything she could find about Napoleon. Then there was no electricity in the house, they read by candlelight and by the light of often smoky kerosene lamps, and in many houses there was already electricity. It appeared in Moscow in 1883; electric lights were lit on Tverskaya Street in 1896 (it was called Tverskaya until 1932, when it became Gorky Street; now this street has regained its former name).
From Trekhprudny Lane with his wife Maria Aleksandrovna, Ivan Vladimirovich went to his father-in-law A.D. Mein in Neopalimovsky Lane to talk about the affairs of the planned museum. From Trekhprudny we went to the conservatory, where Maria Alexandrovna had a permanent place. From here the girls went for a walk to the Pushkin monument, to their beloved Tverskaya, which looked different from what it does now: narrow Tverskaya did not look like Gorky Street. We went to the Alexander Garden, to the quiet streets nearby, went to the fourth gymnasium on Sadovo-Kudrinskaya, to the Alferova gymnasium - on 7th Rostovsky Lane, to the Pototskaya gymnasium, Bryukhonenko, to the gymnasium with a boarding school - Von-Derviz, to the Zograf music school. Plaksina, and later to Sennaya, where the poet Ellis lived in furnished rooms “Don”, to Prechistensky (now Gogolevsky) Boulevard to the Musaget publishing house, to house No. 10 on Malaya Dmitrovka (now Chekhov Street) for meetings of the society “Free Aesthetics, to house No. 17 on Arbat, and then to house No. 10 on Povarskaya to Drakonna (this is how the Tsvetaev girls playfully howled at their friend Lidiya Aleksandrovna Tamburer)... Valeria Ivanovna and Ivan Vladimirovich left from here to Merzlyakovsky Lane for the Higher Women's Courses: he - to teach , she is studying. The first books of Marina Tsvetaeva were written here, here after the release of her first book of poems “Evening Album” Maximilian Voloshin came to her, here the “Sorcerer” Ellis bewitched Marina and Anastasia, here was his wonderful and unforgettable friend - the translator of ancient Heraclitus - Vladimir Ottonovich Nylender , who later became poor with us and helped his wife earn a living by painting plates... In this house, in my father’s office, a portrait of Maria Alexandrovna in a coffin hung on the wall, a copy of the design of the facade of the Museum of Fine Arts hung, there were casts of busts of the gods who were celebrated before the holidays. - they rearranged the household, swept away the dust... In this house they experienced the joy of the opening of the museum on May 31, 1912. In this house the following year, on August 30, Ivan Vladimirovich, the founder and first director of this museum, died.
My whole life was connected with this house. From here they went for the summer to their beloved Tarusa, abroad for the treatment of Maria Alexandrovna and on museum business, for the funeral of Leo Tolstoy, to the Crimea, invariably returning here to Trekhprudny Lane. In 1911, I.V. Tsvetaev wrote to Yu.S. Nechaev-Maltsev, a philanthropist who gave a lot of money for the creation of the Museum of Fine Arts, is going to go to the matins, which he met for more than thirty years in the Church of the Annunciation near the eye hospital on Tverskaya, near Trekhprudny Lane. In 1912, Marina Tsvetaeva and her husband Sergei Yakovlevich Efron got married in the Church of the Nativity of Christ, “which is in Broadswords,” that is, in Bolshoi Palashovsky Lane (now in Yuzhinsky) - also next to Trekhprudny.
They got married, by the way, in front of the icon “Recovery of the Lost.” Now this icon is in the church in Bryusovsky Lane, since there is a school on the site of the church in Palashovsky Lane. The words “Recovery of the Lost” in modern language do not have the meaning that they once had. The previous meaning was close to Pushkin’s words “mercy for the fallen”, for the fallen in the spiritual sense...
After marriage, Marina Tsvetaeva rented an apartment from her husband’s distant relatives (from the then famous writer R.M. Khin-Goldovskaya in Sivtsev-Vrazhek Lane at number 19). Later, Tsvetaeva lived on the now disappeared Dog Playground, and then on Bolshaya Polyanka in Maly Ekaterininsky Lane, in a house that she bought with money given to her by her mother’s teacher, who became the wife and then the widow of her grandfather, Susanna Davydovna Main (the children called her “ Tyo”, she was from Switzerland and pronounced the Russian word “aunt” in this way). Then, from 1914 to 1922, right up to her departure abroad, Marina Tsvetaeva lived in Borisoglebsky Lane.
Over the course of seventeen years of life in Germany, Czechoslovakia, and France, more than once or twice she mentally returned to the house in Trekhprudny Lane. Her memoir prose was written abroad. IN<Рождении музея>, in the essays “Laurel Wreath”, “Father and His Museum”, in the essay “House at Old Pimen”, “Natalia Goncharova”, “Mother and Music”, “Mother’s Tale”, “Devil”, “Living about Living”, “The Captive Spirit”, “My Pushkin”, in many poems and letters Tsvetaeva recalled the house in Trekhprudny Lane, those who lived in it and were associated with it. She wrote: “They all died and I have to say.” The memoirs of Anastasia Tsvetaeva, the “Notes” of V.I. Tsvetaeva, as well as the diary of I.V. Tsvetaev contain invaluable information about how they lived in this house.
In 1926, the house, which previously belonged to the Tsvetaevs, was discussed in the Moscow City Council: the request of the construction partnership “Creativity” was discussed to allow “the construction of a stone residential building of 5 floors. With basements." In the place “where the Tsvetaevs’ house was previously located”... It’s interesting that this construction partnership was called “Creativity”... During the war, this house was destroyed too. They built a new one. Six-story. The front garden in front of it is located exactly on the site of the hall, living room and office of Ivan Vladimirovich Tsvetaev.
Marina Tsvetaeva was born in Moscow on September 26 (October 8), 1892. Her father was a university professor, her mother a pianist. It is worth briefly noting that Tsvetaeva’s biography was replenished with her first poems at the age of six.
She received her first education in Moscow at a private girls' gymnasium, then studied in boarding schools in Switzerland, Germany, and France.
After the death of her mother, Marina and her brother and two sisters were raised by their father, who tried to give the children a good education.
The beginning of a creative journey
Tsvetaeva's first collection of poems was published in 1910 (“Evening Album”). Even then, famous people - Valery Bryusov, Maximilian Voloshin and Nikolai Gumilyov - drew attention to Tsvetaeva’s work. Their work and the works of Nikolai Nekrasov significantly influenced the early work of the poetess.
In 1912, she published her second collection of poems, The Magic Lantern. These two collections by Tsvetaeva also included poems for children: “So,” “In the classroom,” “On Saturday.” In 1913, the poetess’s third collection, entitled “From Two Books,” was published.
During the Civil War (1917-1922), for Tsvetaeva, poetry was a means of expressing sympathy. In addition to poetry, she writes plays.
Personal life
In 1912, she married Sergei Efron, and they had a daughter, Ariadne.
In 1914, Tsvetaeva met the poetess Sofia Parnok. Their romance lasted until 1916. Tsvetaeva dedicated a cycle of her poems called “Girlfriend” to her. Then Marina returned to her husband.
Marina's second daughter, Irina, died at the age of three. In 1925, their son Georgy was born.
Life in exile
In 1922, Tsvetaeva moved to Berlin, then to the Czech Republic and Paris. Tsvetaeva’s creativity of those years includes the works “Poem of the Mountain”, “Poem of the End”, “Poem of the Air”. Tsvetaeva’s poems from 1922-1925 were published in the collection “After Russia” (1928). However, the poems did not bring her popularity abroad. It was during the period of emigration that prose received great recognition in the biography of Marina Tsvetaeva.
Tsvetaeva writes a series of works dedicated to famous and significant people:
- in 1930, the poetic cycle “To Mayakovsky” was written, in honor of the famous Vladimir Mayakovsky, whose suicide shocked the poetess;
- in 1933 - “Living about Living”, memories of Maximilian Voloshin
- in 1934 - “Captive Spirit” in memory of Andrei Bely
- in 1936 - “An Unearthly Evening” about Mikhail Kuzmin
- in 1937 - “My Pushkin”, dedicated to Alexander Sergeevich Pushkin
Return to homeland and death
Having lived the 1930s in poverty, in 1939 Tsvetaeva returned to the USSR. Her daughter and husband are arrested. Sergei was shot in 1941, and his daughter was rehabilitated 15 years later.
During this period of her life, Tsvetaeva almost did not write poetry, but only did translations.
On August 31, 1941, Tsvetaeva committed suicide. The great poetess was buried in the city of Elabuga at the Peter and Paul Cemetery.
The Tsvetaeva Museum is located on Sretenka Street in Moscow, also in Bolshevo, Aleksandrov, Vladimir Region, Feodosia, Bashkortostan. The monument to the poetess was erected on the banks of the Oka River in the city of Tarusa, as well as in Odessa.
Chronological table
Other biography options
- Marina Tsvetaeva began writing her first poems as a child. And she did this not only in Russian, but also in French and German. She knew languages very well, because her family often lived abroad.
- She met her husband by chance while relaxing by the sea. Marina always believed that she would fall in love with the person who gave her the stone she liked. Her future husband, without knowing it, gave Tsvetaeva a carnelian he found on the beach on the very first day they met.
- During the Second World War, Tsvetaeva and her son were evacuated to Elabuga (Tatarstan). Helping Marina pack her suitcase, her friend
