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Хочу у зеркала, где муть...
Легендарная отечественная поэтесса Марина Цветаева рано лишилась матери, пережила гибель младшей дочери от голода, была вынуждена эмигрировать, стала свидетельницей ареста мужа и старшей дочери. И в итоге тяготы сломили ее — в 49 лет она решила уйти из жизни...
В сборник «Хочу у зеркала, где муть...» вошли стихи поэтессы разных лет. «Книги в Красном переплете», «В Париже», «Декабрьская сказка» и «Только девочка» она написала в юности, но смогла удачно изобразить в них глубокую творческую душу. Особого внимания из раннего достойна работа «Моим стихам, написанным так рано», в которой Цветаева напророчила себе известность. А стихотворение «Мне нравится, что Вы больны не мной...» и вовсе было увековечено в культовой мелодраме Эльдара Рязанова «Ирония судьбы, или С легким паром!».
«Мировое началось во мгле кочевье...», «Писала я на аспидной доске...» и «Пригвождена» поэтесса создала в годы Гражданской войны. Они пронизаны тревогой за Родину и супруга, служившего в рядах добровольцев. А написанные в эмиграции «Час души», «Рас-стояние: версты, мили...», «Вскрыла жилы: неостановимо...» и «Надгробие» веют одиночеством и словно предрекают печальный исход...
Также в сборник вошли «Поэма заставы», «Поэма Горы», «Поэма Конца» и «Поэма Лестницы». Первая обрисовывает жизнь городских окраин, вторая и третья — чувства писательницы к другу семьи, а четвертая — жалкое существование в тяжелых условиях голода и бытовой неустроенности...
В сборник «Хочу у зеркала, где муть...» вошли стихи поэтессы разных лет. «Книги в Красном переплете», «В Париже», «Декабрьская сказка» и «Только девочка» она написала в юности, но смогла удачно изобразить в них глубокую творческую душу. Особого внимания из раннего достойна работа «Моим стихам, написанным так рано», в которой Цветаева напророчила себе известность. А стихотворение «Мне нравится, что Вы больны не мной...» и вовсе было увековечено в культовой мелодраме Эльдара Рязанова «Ирония судьбы, или С легким паром!».
«Мировое началось во мгле кочевье...», «Писала я на аспидной доске...» и «Пригвождена» поэтесса создала в годы Гражданской войны. Они пронизаны тревогой за Родину и супруга, служившего в рядах добровольцев. А написанные в эмиграции «Час души», «Рас-стояние: версты, мили...», «Вскрыла жилы: неостановимо...» и «Надгробие» веют одиночеством и словно предрекают печальный исход...
Также в сборник вошли «Поэма заставы», «Поэма Горы», «Поэма Конца» и «Поэма Лестницы». Первая обрисовывает жизнь городских окраин, вторая и третья — чувства писательницы к другу семьи, а четвертая — жалкое существование в тяжелых условиях голода и бытовой неустроенности...
320 pages, Paperback
Published January 1, 2016
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About the author
Marina Tsvetaeva
571 books577 followers Марина Цветаева
Marina Ivanovna Tsvetaeva was born in Moscow. Her father, Ivan Tsvetaev, was a professor of art history and the founder of the Museum of Fine Arts. Her mother Mariya, née Meyn, was a talented concert pianist. The family travelled a great deal and Tsvetaeva attended schools in Switzerland, Germany, and at the Sorbonne, Paris. Tsvetaeva started to write verse in her early childhood. She made her debut as a poet at the age of 18 with the collection Evening Album, a tribute to her childhood.
In 1912 Tsvetaeva married Sergei Efron, they had two daughters and one son. Magic Lantern showed her technical mastery and was followed in 1913 by a selection of poems from her first collections. Tsvetaeva's affair with the poet and opera librettist Sofiia Parnok inspired her cycle of poems called Girlfriend. Parnok's career stopped in the late 1920s when she was no longer allowed to publish. The poems composed between 1917 and 1921 appeared in 1957 under the title The Demesne of the Swans. Inspired by her relationship with Konstantin Rodzevich, an ex-Red Army officer she wrote Poem of the Mountain and Poem of the End.
After 1917 Revolution Tsvetaeva was trapped in Moscow for five years. During the famine one of her own daughters died of starvation. Tsvetaeva's poetry reveals her growing interest in folk song and the techniques of the major symbolist and poets, such as Aleksander Blok and Anna Akhmatova. In 1922 Tsvetaeva emigrated with her family to Berlin, where she rejoined her husband, and then to Prague. This was a highly productive period in her life - she published five collections of verse and a number of narrative poems, plays, and essays.
During her years in Paris Tsvetaeva wrote two parts of the planned dramatic trilogy. The last collection published during her lifetime, After Russia, appeared in 1928. Its print, 100 numbered copies, were sold by special subscription. In Paris the family lived in poverty, the income came almost entirely from Tsvetaeva's writings. When her husband started to work for the Soviet security service, the Russian community of Paris turned against Tsvetaeva. Her limited publishing ways for poetry were blocked and she turned to prose. In 1937 appeared MOY PUSHKIN, one of Tsvetaeva's best prose works. To earn extra income, she also produced short stories, memoirs and critical articles.
In exile Tsvetaeva felt more and more isolated. Friendless and almost destitute she returned to the Soviet Union in 1938, where her son and husband already lived. Next year her husband was executed and her daughter was sent to a labor camp. Tsvetaeva was officially ostracized and unable to publish. After the USSR was invaded by German Army in 1941, Tsvetaeva was evacuated to the small provincial town of Elabuga with her son. In despair, she hanged herself ten days later on August 31, 1941.
source: http://www.poemhunter.com/marina-ivan...
Marina Ivanovna Tsvetaeva was born in Moscow. Her father, Ivan Tsvetaev, was a professor of art history and the founder of the Museum of Fine Arts. Her mother Mariya, née Meyn, was a talented concert pianist. The family travelled a great deal and Tsvetaeva attended schools in Switzerland, Germany, and at the Sorbonne, Paris. Tsvetaeva started to write verse in her early childhood. She made her debut as a poet at the age of 18 with the collection Evening Album, a tribute to her childhood.
In 1912 Tsvetaeva married Sergei Efron, they had two daughters and one son. Magic Lantern showed her technical mastery and was followed in 1913 by a selection of poems from her first collections. Tsvetaeva's affair with the poet and opera librettist Sofiia Parnok inspired her cycle of poems called Girlfriend. Parnok's career stopped in the late 1920s when she was no longer allowed to publish. The poems composed between 1917 and 1921 appeared in 1957 under the title The Demesne of the Swans. Inspired by her relationship with Konstantin Rodzevich, an ex-Red Army officer she wrote Poem of the Mountain and Poem of the End.
After 1917 Revolution Tsvetaeva was trapped in Moscow for five years. During the famine one of her own daughters died of starvation. Tsvetaeva's poetry reveals her growing interest in folk song and the techniques of the major symbolist and poets, such as Aleksander Blok and Anna Akhmatova. In 1922 Tsvetaeva emigrated with her family to Berlin, where she rejoined her husband, and then to Prague. This was a highly productive period in her life - she published five collections of verse and a number of narrative poems, plays, and essays.
During her years in Paris Tsvetaeva wrote two parts of the planned dramatic trilogy. The last collection published during her lifetime, After Russia, appeared in 1928. Its print, 100 numbered copies, were sold by special subscription. In Paris the family lived in poverty, the income came almost entirely from Tsvetaeva's writings. When her husband started to work for the Soviet security service, the Russian community of Paris turned against Tsvetaeva. Her limited publishing ways for poetry were blocked and she turned to prose. In 1937 appeared MOY PUSHKIN, one of Tsvetaeva's best prose works. To earn extra income, she also produced short stories, memoirs and critical articles.
In exile Tsvetaeva felt more and more isolated. Friendless and almost destitute she returned to the Soviet Union in 1938, where her son and husband already lived. Next year her husband was executed and her daughter was sent to a labor camp. Tsvetaeva was officially ostracized and unable to publish. After the USSR was invaded by German Army in 1941, Tsvetaeva was evacuated to the small provincial town of Elabuga with her son. In despair, she hanged herself ten days later on August 31, 1941.
source: http://www.poemhunter.com/marina-ivan...
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