MINISTRY OF HIGHER AND SECONDARY SPECIAL EDUCATION OF THE REPUBLIC OF UZBEKISTAN UZBEK STATE UNIVERSITY OF WORLD LANGUAGES Department of Russian and Foreign Literature ABSTRACT The theme of women's destiny in the lyrics of M.I. Tsvetaeva Completed by a second year student of group 21 Petrova Elena Viktorovna Scientific supervisor candidate of philological sciences, senior teacher Garipova Gulchira Talgatovna TASHKENT 2004 Plan I. Introduction. II. Main part. Chapter I. Early lyrics of M.I. Tsvetaeva 1910-1922. Fate is like love. Chapter II. Lyrics by M. I. Tsvetaeva during the years of emigration 1922-1939. The fate of the Motherland. Chapter III. Lyrics of the last years of M.I.’s life Tsvetaeva 1939-1941. Fate is like fate. III. Conclusion. IV. List of used literature. Introduction The work of Marina Tsvetaeva is an outstanding and original phenomenon of all Russian literature.
She brought to Russian poetry a previously unprecedented depth and expressiveness of lyricism.
Thanks to her, Russian poetry received a new direction in the self-disclosure of the female soul with its tragic contradictions. Marina Tsvetaeva was born in Moscow on September 26, 1892. From early childhood, Marina lived in the world of the heroes of the books she read, but in life, young Tsvetaeva was wild and daring, arrogant and conflicted. It is characterized by a feeling of the unity of life and creativity. Tsvetaeva’s lyrical heroine fully reflects the feelings and experiences of Marina herself, since the poetess initially fundamentally equated herself with her lyrical heroine.
Based on this, Tsvetaeva’s poems are very personal. Tsvetaeva always believed that a poet should be individual in his work. From this the principle is to be only yourself, not to depend on time or space in anything. The topic of this scientific work is the reflection of the poet’s fate on his work. The relevance is determined by an attempt at a modern interpretation of the theme of fate in the poetry of Marina Tsvetaeva in the aspect of evolutionary development.
The novelty comes from the relevance of the work; the concepts of fate are traced as stages in the dynamics of the development of the Image-Fate. This topic has been quite widely developed by modern literary criticism. A huge contribution was made by Sahakyants A Kudrova I Orlov V Ehrenburg I Gul R. and others. The main goal of the scientific work is to consider the life and work of Tsvetaeva and trace their relationship in the aspect of fate. The implementation of this research goal involves a number of scientific tasks to compare biographical facts and the poet’s creative path in the early period 1910-1922 to determine the influence of biographical facts during the years of emigration on the poet’s work 1922-1939 to determine the influence of the poet’s biographical facts in the last years of his life on his work 1939-1941 to identify concepts of the poet’s fate as stages in the dynamics of the development of the Image-Fate to give a psychological analysis of the image of the Fate-Muse. The working hypothesis of the scientific work is that in the poetry of Marina Tsvetaeva the theme of fate is resolved through the prism of the image of Fate-Muse. Chapter I.
Early lyrics M
the poetess sacrifices to her highest beloved Genius in the image... We are adjacent blissfully and warmly, Like the right and left wing. But the whirlwind rises and the abyss lies From the right to the left wing Like the right... The same is true for the form. WITH.
Lyrics of the last years of M's life
Belkina, in the most interesting book Crossing of Fates, notes Gnal's poems. 196 Tsvetaeva has almost no time left to create original lyres... Starting from the Tarkovsky line that touched her, I set the table on a pole... Notebooks and diary prose. In a provincial town, cut off from the cultural world, life ended...
Conclusion
Conclusion. So, in the work of Marina Tsvetaeva, the theme of fate is resolved through the prism of the image of Fate-Muse. Life sends some poets such a fate that, from the very first steps of conscious existence, puts them in the most favorable conditions for the development of a natural gift. Such a bright and tragic was the fate of Marina Tsvetaeva, a major and significant poet of the first half of the twentieth century. For her, everything in her personality and in her poetry, this indissoluble unity, sharply went beyond traditional ideas and prevailing literary tastes.
This was both the strength and originality of her poetic word. In our work, an attempt was made to consider the reflection of the poet’s fate on creativity, to trace their relationship, to show how the poet’s lyrics are born from an irresistible need for spiritual self-disclosure, from a greedy desire to know oneself and the world as a whole.
Amazing personal fullness, depth of feelings and power of imagination allowed Tsvetaeva throughout her life, and she is characterized by a romantic sense of the unity of life and creativity, to draw poetic inspiration from the boundless, unpredictable and at the same time constant, like the sea, of her own soul. In other words, from birth to death, from the first lines of poetry to the last breath, she remained, if you follow her own definition, a pure lyricist.
All of Tsvetaeva’s poetry, her very life and death are perceived as an irreconcilable struggle with an ordinary, gray and dull existence. Is it possible to imagine the life of a poet as smooth and calm? These are continuous ups and downs, resulting in beautiful philosophical reflections on the meaning of life, the rejection of lies, and the eternal mystery of love and death.
Impetuosity and swiftness were character traits of Marina Ivanovna, and they are also inherent in her poetry. Here are all the elements, divine obsession and at the same time earthly passions and suffering, without which the life of any person is unthinkable. This combination of the lofty and the ordinary is the most characteristic feature of Tsvetaeva’s work. Biography and creativity interact with each other in a complex way. The life of Marina Tsvetaeva, partly unconsciously - as a fate given from above, partly consciously - as the fate of a Poet creating himself, developed as if according to the laws of a literary work, where a bizarre interweaving of motives refutes the flat plot. In her poems, she seems to be playing out the scenario of her own fate in a persistent polemic with the century; we clearly feel an exceptional personality who did not stick to any of the shores of a culture torn apart in space and, in the end, destroyed by cruel time. The chronological outline of her life is closely intertwined with significant milestones in the fate of Russia.
List of used literature
List of used literature. 1. Belkina M. Crossing of destinies.
M. A and B, 1999. 634 p. 2. Bryusov V. Distant and close. Articles and notes about Russian poets from Tyutchev to the present day M. Scorpion, 1912. 256 p. 3. Gumilv N. Letters about Russian poetry. Pg. Apollo, 1911. 126 p. 4. Marina Tsvetaeva in criticism of her contemporaries In 2 parts. Part I. 1910-1941. Kinship and foreignness. M. Agraf, 2003. 656 p. 5. Marina Tsvetaeva in criticism of her contemporaries In 2 parts. Part II. 1942-1987. Doom for time. M. Agraf, 2003. 640 p. 6. Tsvetaeva M. Notebooks and diary prose.
M. Zakharov, 2002. 400 p. 7. Tsvetaeva M. Captive spirit. M. AST, 2003. 476 p. 8. Tsvetaeva M. Poet and time Will of Russia Prague Flame, 1932, 1. 118 p.
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In his works, Lermontov invariably shows himself as a person actively interested in the fate of his native country and his generation: “The future worries my chest” (“June 1831, 11 days”). The question “What will happen next, and how will our descendants look at us?” does not give the poet peace, because he feels responsible for the future. That is why the fate of the generation of the 1830s in Lermontov’s lyrics is of particular importance. One can single out a number of poems that directly relate to this topic, such as “Duma”, “Borodino”, “How often, surrounded by a motley crowd”, “Both boring and sad”, “Don’t trust yourself”.
Portrayal of one's generation: disappointment and neglect
All these works, as we see, belong to the last years of Lermontov’s work. He comes to this topic already mature, having experienced youthful maximalism and having recognized this life. And he looks at his generation soberly and coldly, with disappointment, noting all its shortcomings.
“I look sadly at our generation!
His future is either empty or dark.”
This is what the poet says in the poem “Duma”, this is how further fate is depicted in Lermontov’s lyrics. He does not skimp on bitter predictions: the memory of a generation will pass by “in a gloomy crowd,” “without noise or trace,” and this very memory “will be insulted by a descendant with a contemptuous verse.” The son’s mockery “at his squandered father” is what Lermontov compares the future memory of his generation with.
Why are his conclusions so caustic and disappointing? The generation of the 1830s was formed in the “era of timelessness and stagnation.” It was his fate that led to bitter disappointment in the ideas of the Decembrists. After their defeat and execution, a period without ideas begins - some ideas are already dead, others have not yet had time to form. The memories of the failed uprising of 1825 are fresh in our minds, and it is they that weigh heavily on Lermontov’s generation.
“We are rich, barely out of the cradle,
By the mistakes of our fathers and their late minds,
And life already torments us, like a smooth path without a goal...”
What are the poet’s peers interested in? Balls, duels, noisy and fun entertainment. And in the literal sense, they are often rich “barely out of the cradle”, they do not want to spend their energy on anything serious, their whole life is a pursuit of momentary pleasure, which, in turn, does not please them either...
“And the luxurious amusements of our ancestors bore us,
Their conscientious, childish depravity..."
"Thought".
All that remains for the current generation is decent calm and well-fed self-confidence, which cannot be disturbed by anything:
“On the faces of the festive ones a trace of worries is barely visible,
You won’t see tears that are indecent.”
"Don't trust yourself."
The fate of the poet during the generation of the 1830s
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1812-1830: comparison of generations
Lermontov sees the only joy in the fate of the past generation. He himself admits that he likes to “forget himself... in memory of recent antiquity.” The heroes of the war with Napoleon are still fresh in memory, the year 1812 has not yet been forgotten, and the poet remembers it with joy and pride:
“When I remember, I freeze completely,
There souls were excited by glory"
"Borodin's Field".
But on the other hand, there is no escape from the obvious comparison between the generations of 1812 and the 1830s, and this comparison speaks for itself. This is where the refrain repeated in Borodino appears: “Yes, there were people in our time, / A mighty, dashing tribe: / The heroes are not you.” Heroes and daredevils are becoming a thing of the past, but completely different people remain, weak and cowardly, seeking peace and security, and for the poet, who believed that “life is boring if there is no struggle in it,” there is nothing more terrible.
The result is logical: as Lermontov predicted “in the legends of glory” (“Borodino”), his generation really does not occur. The memory of him remains, but is it not thanks to the poet’s poems?
This review of the fate of generations in the life and work of the poet will help 9th grade students in preparing an essay on the topic “The fate of the generation of the 1830s in Lermontov’s lyrics.”
The most popular materials in April for 9th grade.
1. Novel “Hero of Our Time.”
2. Fate as the driving force of the plot in “The Song about the Merchant Kalashnikov.”
3. The fate of the poet in society.
The theme of fate as a person’s life path is heard in one way or another in the works of the vast majority of writers. However, quite often in literature one encounters a slightly different understanding of fate, fate, destiny, beyond which a person is hardly able to escape. This is exactly how the ancients understood fate. Despite this, their beliefs and ideas occupied and continue to occupy the minds of masters and thinkers of later eras. The motif of fate, appearing in various guises - trials, fate, life's path - is one of the significant themes in the works of M. Yu. Lermontov.
In the chapter “Fatalist” of the famous novel “A Hero of Our Time,” the motif of doubt, characteristic of the writer’s work, is intertwined with the theme of fate. This doubt becomes the plot, the starting point of the plot, the drama of which gradually increases. Reflecting on predestination, Lermontov’s hero compares the attitude towards it of people of previous eras and his contemporaries, who did not firmly believe in anything: “What willpower was given to them by the confidence that the whole sky with its countless inhabitants was looking at them with participation, although mute, but unchanging ! Let us remember: in ancient Greek myths, for example, each hero had patron gods who took part in the fate of their charges. However, even the gods were unable to undo what was ordained by fate.
However, Lermontov’s heroes argue only about whether the time of a person’s death is predetermined. Already the ancients accepted the possibility that a person is capable of managing his own life: in Virgil’s Aeneid, Dido, abandoned by Aeneas, commits suicide, but according to fate, the queen of Carthage was supposed to live longer.
In “Fatalist,” Lermontov’s characters come to the conclusion that predestination exists—the pistol was loaded, and yet Lieutenant Vulich remained alive. At the same time, the “strange imprint of inevitable fate” that Pechorin imagined in the expression on Vulich’s face actually turns out to be a harbinger of the officer’s tragic and absurd end at the hands of a drunken Cossack.
The very title of this chapter of the novel is associated with the idea of fate, fate: a fatalist is a person who believes that the events of life are predetermined. But, in addition to the problem of the existence of rock, Lermontov touches on the theme of the confrontation between man and fate. Reflecting on predestination, Pechorin believes that “true pleasure” “is met by the soul in every struggle with people or fate...”. Of course, it was precisely the desire to experience such pleasure that pushed him, “like Vulich,” to “tempt fate.” The heroes of myths also resisted fate: but the difference between them and Lermontov’s heroes is that mythical heroes often knew what awaited them, but nevertheless went towards fate. As for Vulich and Pechorin, they do not know what awaits them. “Do what you must, what will happen, what is destined” - this is the position of the ancient heroes. In Lermontov's novel the situation is fundamentally different: the heroes enter into a kind of game with the unknown, but not because it is necessary, but for the sake of thrill. And yet the motif of fate weighing heavily on a person sounds powerfully in “Fatalist”: “... Apparently, it was written like that in his family!”
The motif of fate is also invisibly present in Lermontov’s poem “Song about the Merchant Kalashnikov.”
Don't pour wine over the heart of a roast,
The Black Duma must not be spoiled! —
Oprichnik Kiribeevich, who fell in love with someone else's wife, sighs fatalistically.
But he could well have found himself a rich and noble bride - there would hardly have been any parents who would have refused to marry their daughter to the Tsar’s favorite. I would live for my own pleasure with my young wife, enjoy the royal favors and not know grief! And Stepan Paramonovich with his Alena Dmitrevna could live “happily ever after” - yes, you know, fate...
And the little head is mediocre
She rolled onto the chopping block covered in blood.
A clear allusion to fate, which in folk poetry was often called “talan”. “Talentless little head” - as if Stepan Paramonovich, as a mythical hero, had a sad end predetermined in advance. However, his opponent also had an unenviable fate. And the beautiful Alena Dmitrevna, a faithful wife, whom men stare at - she also had a sad fate:
In this wide world I am an orphan:
My dear father is already in the damp ground,
My mother lies next to him,
And my elder brother, you yourself know
On someone else's side he went missing,
And my younger brother is a small child,
A small, foolish child...
Evil fate also takes away her husband, her only protector.
However, it should be noted that the poem contains not only the motif of fate, but also the theme of a person’s free choice. Even though Kiribeevich fell in love with Alena Dmitrevna against his will, he is, of his own free will, trying to achieve her reciprocity, which is contrary to the laws of God and people. And Alena Dmitrevna of her own free will chooses loyalty to her husband. Stepan Paramonovich's decision to meet Kiribeevich in a fist fight is also his own decision.
Willingly or reluctantly
You killed Movo's best servant,
Movo of the best fighter Kiribeevich? —
the angry tsar asks menacingly, and Kalashnikov honestly answers: “I killed him of my own free will.” Both the reprisal against his opponent and the merchant’s sincerity before the Tsar, in whose hands his life is, is Kalashnikov’s free choice. But, on the other hand, is the choice of Lermontov’s heroes so free? In ancient Greek myths, heroes always have a choice, but they inevitably follow the destined path. Everyone chooses in accordance with their beliefs, character, and value system. Kalashnikov’s high moral ideals triumph over his “lack of talent”: having completed his earthly journey, he lives in the memory of the people. Kalashnikov boldly faced the gaze of fate, firmly believing that he was doing as he should:
“What is destined to happen will come true;
I will stand for the truth to the last!”
The poet is dead! - slave of honor -
Fate has reached its conclusion! —
Isn't there a certain similarity of motives? And again fate... The author clearly shows that this fate is the work of the people surrounding a person exceptional in his talents. But where does such an unfair attitude towards talent come from? The envy of ordinary people, their gloating at the sight of the misfortunes of a genius, the desire to humiliate him, to interrupt his flight, to trample him into the dirt - what lies at the basis of this? And this gift itself, mysterious and fatal - where does it come from?
Since the eternal judge
The prophet gave me the omniscience...
Lermontov does not give unambiguous interpretations of what fate is. And who has the right to give them? Its eternal motif runs through the work of the great Russian writer, like a sad and majestic melody, and everyone catches in it what is consonant with his soul.
A creative personality, due to its emotionality, is not at all protected from the realities of life, and Tsvetaeva’s biography is proof of this. The poet Tsvetaeva Marina Ivanovna was born in Moscow on September 26, 1892. Her mother was a talented pianist and came from a Polish-German family, her father was a famous philologist and art critic, at the time of his daughter’s birth he was a professor at Moscow University, later he became director of the Rumyantsev Museum and founded Museum of Fine Arts. Previously, the poetess’s childhood took place in [...]
Marina Ivanovna Tsvetaeva entered the poetry of the Silver Age as a bright and original artist. Her lyrics are a deep, unique world of the female soul, stormy and contradictory. In the spirit of her time, with its global changes, Tsvetaeva boldly experimented in the field of rhythm and figurative structure of verse, and was an innovative poet. Tsvetaeva's poems are characterized by abrupt transitions, unexpected pauses, and going beyond the stanza. However, the flow of feelings of the lyrical heroine gives the poems plasticity and flexibility, feminine softness and changeability.
The collection “Evening Album” was published when the poetess was 18 years old. It included youthful poems showing the development of the author’s creative individuality. They did not reflect historical events in the country, only the world of the soul, its aspirations and hopes.
Tsvetaeva always strived to be honest in her work and believed that the poet is free to write what he wants. She herself was a poet from God. Creativity and the ability to write poetry were the essence of her existence. Deprivation of this opportunity was tantamount to death for her. She could not help but write, she said that her poems “write themselves,” “they grow like stars and like roses.”
The lyrical heroine of Tsvetaeva is a person of enormous energy and strength. All her feelings are directed upward - towards the light, towards the universal mystery, towards perfection, which is why the image of a mountain is often found in her lyrics. When reading her poems, a feeling of flight arises; the reader is captured by a powerful stream of Tsvetaeva’s talent:
Along the highlands, Along the hills, Together with the dawns, With the bell towers...
The poetess was convinced that a poet is the creator of a huge world; he must always remain himself in order to tell people something intimate, hidden from them:
We know, we know a lot of things that they don’t know!
In the poem “You, Walking Past Me...” Tsvetaeva talks about her dissimilarity from ordinary people, and the motive of contrasting the poet and the “crowd” arises:
You, walking past me Towards not my and dubious charms, - If you only knew how much fire, How much life is wasted in vain... How much dark and menacing melancholy In my fair-haired head...
The poet lives with his heart and nerves naked; the poetess’s gift of poetry is both unearthly happiness and a curse. She calls ordinary people “lucky and fortunate.” The poet needs to abandon ordinary life, he lives in another world, and in this one he is absurd, helpless and ridiculous. The poet is unique, and his death is a great, irreparable loss for people.
Tsvetaeva believed that the ability for all-consuming love is also part of God’s gift to the poet, his distinctive feature. The poet embraces the whole world with his love; there are no restrictions for his love.
The poet has a special vision; he can see the secret, hidden, like a clairvoyant. The poet lives in his own time and space, in the “principality of dreams and words”; dreams are reality for him. Tsvetaeva has many “dream-like” poems, where she is an islander or lives in “seventh heaven”; in her dream she has a “dream ship”. Intuition, prophecy, foresight - all this is at the disposal of the poetess as tools for creating poetry:
The eye sees the invisible distance, the Heart sees the invisible connection, the Echo drinks the unheard of rumors.
As a rule, the poet’s relationship with time is tragic, since, as she puts it, “the poet is an eyewitness to all times of history,” but he is a prisoner of the time in which he has to live. The poetess speaks about this in the poem “Sneak by...”: Material from the site
Or maybe the best victory Over time and gravity is to pass so as not to leave a shadow on the walls... Maybe - to take it by refusal? To be erased from the mirrors?..The poems that Tsvetaeva wrote about her contemporary poets, dedicated to Blok, Akhmatova and others, are striking in their accuracy in determining their significance in poetry and in their subtle analysis of their talent. She writes to Anna Akhmatova:
We are crowned by the fact that we trample the same ground with you, that the sky above us is the same! And the one who is wounded by your mortal fate, Already immortal, descends to his deathbed.
Marina Tsvetaeva loved Pushkin’s work very much, admired his courage and ability to defend his opinion. She wrote the cycle “Poems to Pushkin”. The poetess believed that
My poems, like precious wines, will have their turn.
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