900:, pre-eminent among Tsvetaeva's champions. Tsvetaeva was primarily a lyrical poet, and her lyrical voice remains clearly audible in her narrative poetry. Brodsky said of her work: "Represented on a graph, Tsvetaeva's work would exhibit a curve – or rather, a straight line – rising at almost a right angle because of her constant effort to raise the pitch a note higher, an idea higher (or, more precisely, an octave and a faith higher.) She always carried everything she has to say to its conceivable and expressible end. In both her poetry and her prose, nothing remains hanging or leaves a feeling of ambivalence. Tsvetaeva is the unique case in which the paramount spiritual experience of an epoch (for us, the sense of ambivalence, of contradictoriness in the nature of human existence) served not as the object of expression but as its means, by which it was transformed into the material of art." Critic
686:, who became her main source of financial support. Her poetry and critical prose of the time, including her autobiographical prose works of 1934–7, is of lasting literary importance. But she felt "consumed by the daily round", resenting the domesticity that left her no time for solitude or writing. Moreover her émigré milieu regarded Tsvetaeva as a crude sort who ignored social graces. Describing her misery, she wrote to Tesková: "In Paris, with rare personal exceptions, everyone hates me, they write all sorts of nasty things, leave me out in all sorts of nasty ways, and so on". To Pasternak she complained "They don't like poetry and what am I apart from that, not poetry but that from which it is made. an inhospitable hostess. A young woman in an old dress." She began to look back at even the Prague times with nostalgia and resent her exiled state more deeply.
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297:, was born in 1894. The children quarrelled frequently and occasionally violently. There was considerable tension between Tsvetaeva's mother and Varvara's children, and Tsvetaeva's father maintained close contact with Varvara's family. Tsvetaeva's father was kind, but deeply wrapped up in his studies and distant from his family. He was also still deeply in love with his first wife; he would never get over her. Likewise, Tsvetaeva's mother Maria had never recovered from a love affair she'd had before her marriage. Maria disapproved of Marina's poetic inclination; Maria wanted her daughter to become a pianist, holding the opinion that Marina's poetry was poor.
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a long, folkloric narrative. The target of
Tsvetaeva's satire is everything petty and petty bourgeois. Unleashed against such dull creature comforts is the vengeful, unearthly energy of workers both manual and creative. In her notebook, Tsvetaeva writes of "The Floorcleaners' Song": "Overall movement: the floorcleaners ferret out a house's hidden things, they scrub a fire into the door... What do they flush out? Coziness, warmth, tidiness, order... Smells: incense, piety. Bygones. Yesterday... The growing force of their threat is far stronger than the climax."
577:, where Tsvetaeva completed "The Poem of the End", and was to conceive their son, Georgy, whom she was to later nickname 'Mur'. Tsvetaeva wanted to name him Boris (after Pasternak); Efron insisted on Georgy. He was to be a most difficult child but Tsvetaeva loved him obsessively. With Efron now rarely free from tuberculosis, their daughter Ariadna was relegated to the role of mother's helper and confidante, and consequently felt robbed of much of her childhood. In Berlin, before settling in Paris, Tsvetaeva wrote some of her greatest verse, including
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742:'s USSR, anyone who had lived abroad was suspect, as was anyone who had been among the intelligentsia before the Revolution. Tsvetaeva's sister had been arrested before Tsvetaeva's return; although Anastasia survived the Stalin years, the sisters never saw each other again. Tsvetaeva found that all doors had closed to her. She got bits of work translating poetry, but otherwise the established Soviet writers refused to help her, and chose to ignore her plight;
473:, glorifying those who fought against the communists. The cycle of poems in the style of a diary or journal begins on the day of Tsar Nicholas II's abdication in March 1917, and ends late in 1920, when the anti-communist White Army was finally defeated. The 'swans' of the title refers to the volunteers in the White Army, in which her husband was fighting as an officer. In 1922, she published a long pro-imperial verse fairy tale,
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916:(Volshebnyi fonar, 1912). The poems are vignettes of a tranquil childhood and youth in a professorial, middle-class home in Moscow, and display considerable grasp of the formal elements of style. The full range of Tsvetaeva's talent developed quickly, and was undoubtedly influenced by the contacts she had made at Koktebel, and was made evident in two new collections:
1009:, 1928) in Paris. There then followed the twenty-three lyrical "Berlin" poems, the pantheistic "Trees" ("Derev'ya"), "Wires" ("Provoda") and "Pairs" ("Dvoe"), and the tragic "Poets" ("Poety"). "After Russia" contains the poem "In Praise of the Rich", in which Tsvetaeva's oppositional tone is merged with her proclivity for ruthless satire.
709:, Switzerland. After Efron's escape, the police interrogated Tsvetaeva, but she seemed confused by their questions and ended up reading them some French translations of her poetry. The police concluded that she was deranged and knew nothing of the murder. Later it was learned that Efron possibly had also taken part in the assassination of
1165:("Mirror"), American magazine in MN for the Russian-speaking readers. It was a special publication to the 125th Anniversary of the Russian poet Marina Tsvetaeva, where the article "Marina Tsvetaeva in America" was written by Dr. Uli Zislin, the founder and director of the Washington Museum of Russian Poetry and Music, Sep/Oct 2017.
1140:, "New Year's", (Adastra Press 16 Reservation Road, Easthampton, MA 01027 USA) and "Poem of the End" (The Hudson Review, Winter 2009; and in the anthology Poets Translate Poets, Syracuse U. Press 2013) and "Poem of the Hill", (New England Review, Summer 2008) and Tsvetaeva's 1914–1915 cycle of love poems to Sophia Parnok. In 2002,
647:. In addition, she tried to make whatever she could from readings and sales of her work. She turned more and more to writing prose because she found it made more money than poetry. Tsvetaeva did not feel at all at home in Paris's predominantly ex-bourgeois circle of Russian émigré writers. Although she had written passionately pro-
323:. Changes in the Tsvetaev residence led to several changes in school, and during the course of her travels she acquired the Italian, French, and German languages. She gave up the strict musical studies that her mother had imposed and turned to poetry. She wrote "With a mother like her, I had only one choice: to become a poet".
958:(Razluka, 1922) was to contain Tsvetaeva's first long verse narrative, "On a Red Steed" ("Na krasnom kone"). The poem is a prologue to three more verse-narratives written between 1920 and 1922. All four narrative poems draw on folkloric plots. Tsvetaeva acknowledges her sources in the titles of the very long works,
432:, who was 7 years older than Tsvetaeva, an affair that caused her husband great grief. The two women fell deeply in love, and the relationship profoundly affected both women's writings. She deals with the ambiguous and tempestuous nature of this relationship in a cycle of poems which at times she called
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describes the engaging, heart-felt nature of the work. "Tsvetaeva is such a warm poet, so unbridled in her passion, so completely vulnerable in her love poetry, whether to her female lover Sofie Parnak, to Boris
Pasternak. Tsvetaeva throws her poetic brilliance on the altar of her heart’s experience
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On 31 August 1941, Tsvetaeva hanged herself in
Yelabuga. She left a note for her son Georgy ("Mur"): "Forgive me, but to go on would be worse. I am gravely ill, this is not me anymore. I love you passionately. Do understand that I could not live anymore. Tell Papa and Alya, if you ever see them, that
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Satire is a secondary element after lyricism in
Tsvetaeva's poetry. Several satirical poems, moreover, are among Tsvetaeva's best-known works: "The Train of Life" ("Poezd zhizni") and "The Floorcleaners' Song" ("Poloterskaya"), both included in After Russia, and The Ratcatcher (Krysolov, 1925–1926),
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and living in hostels, Tsvetaeva and
Ariadna found rooms in a village outside the city. She wrote: "We are devoured by coal, gas, the milkman, the baker... the only meat we eat is horsemeat." When offered an opportunity to earn money by reading her poetry, she had to beg a simple dress from a friend
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in 1956. Its hero is the Pied Piper of
Hamelin who saves a town from hordes of rats and then leads the town's children away too, in retribution for the citizens' ingratitude. As in the other folkloric narratives, The Ratcatcher's story line emerges indirectly through numerous speaking voices which
935:, for example, were written in 1916 and resolve themselves as a versified journal. Secondly, there are cycles of poems which fall into a regular chronological sequence among the single poems, evidence that certain themes demanded further expression and development. One cycle announces the theme of
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The Moscow famine was to exact a toll on
Tsvetaeva. With no immediate family to turn to, she had no way to support herself or her daughters. In 1919, she placed both her daughters in a state orphanage, mistakenly believing that they would be better fed there. Alya became ill, and Tsvetaeva removed
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In the town of
Yelabuga, the Tsvetaeva house is now a museum; there is a monument to her. The apartment in Moscow where she lived from 1914 to 1922 is now a museum as well. Much of her poetry was republished in the Soviet Union after 1961, and her passionate, articulate and precise work, with its
454:, which she rejected. On trains, she came into contact with ordinary Russian people and was shocked by the mood of anger and violence. She wrote in her journal: "In the air of the compartment hung only three axe-like words: bourgeois, Junkers, leeches." After the 1917 Revolution, Efron joined the
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wrote: "Here inspiration was born." At
Koktebel, Tsvetaeva met Sergei Yakovlevich Efron, a cadet in the Officers' Academy. She was 19, he 18: they fell in love and were married in 1912, the same year as her father's project, the Alexander III Museum of Fine Arts, was ceremonially opened, an event
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Marina attempted to save her daughter Irina from starvation by placing her in a state orphanage in 1919, where Irina died of hunger. Tsvetaeva left Russia in 1922 and lived with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Her husband
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in 1936. Tsvetaeva does not seem to have known that her husband was a spy, nor the extent to which he was compromised. However, she was held responsible for his actions and was ostracised in Paris because of the implication that he was involved with the NKVD.
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Tsvetaeva's last ten years of exile, from 1928 when "After Russia" appeared until her return in 1939 to the Soviet Union, were principally a "prose decade", though this would almost certainly be by dint of economic necessity rather than one of choice.
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poems during the
Revolution, her fellow émigrés thought that she was insufficiently anti-Soviet, and that her criticism of the Soviet régime was altogether too nebulous. She was particularly criticised for writing an admiring letter to the Soviet poet
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applied to the Soviet of Literature Fund asking for a job at the LitFund's canteen. Parnakh was accepted as a doorman, while Tsvetaeva's application for a permission to live in Chistopol was turned down and she had to return to Yelabuga on 28 August.
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of World War II and died in battle in 1944. Her daughter Ariadna spent 16 years in Soviet prison camps and exile and was released in 1955. Ariadna wrote a memoir of her family; an English-language edition was published in 2009. She died in 1975.
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1136:. Livingstone's translation of Tsvetaeva's "The Ratcatcher" was published as a separate book. Mary Jane White has translated the early cycle "Miles" in a book called "Starry Sky to Starry Sky", as well as Tsvetaeva's elegy for
350:), self-published in 1910, promoted her considerable reputation as a poet. It was well received, although her early poetry was held to be insipid compared to her later work. It attracted the attention of the poet and critic
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agent who had been assigned to spy on the family. Efron was shot in September 1941; Alya served over eight years in prison. Both were exonerated after Stalin's death. In 1941, Tsvetaeva and her son were evacuated to
286:, Ivan's second wife, was a concert pianist, highly literate, with German and Polish ancestry. Growing up in considerable material comfort, Tsvetaeva would later come to identify herself with the Polish aristocracy.
312:. There, away from the rigid constraints of a bourgeois Muscovite life, Tsvetaeva was able for the first time to run free, climb cliffs, and vent her imagination in childhood games. There were many Russian
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26 September] 1892 – 31 August 1941) was a Russian poet. Her work is some of the most well-known in twentieth-century Russian literature. She lived through and wrote about the
304:. A change in climate was recommended to help cure the disease, and so the family travelled abroad until shortly before her death in 1906, when Tsvetaeva was 14. They lived for a while by the sea at
552:, a former military officer, a liaison which became widely known throughout émigré circles. Efron was devastated. Her break-up with Rodziewicz in 1923 was almost certainly the inspiration for her
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Tsvetaeva died by suicide in 1941. As a lyrical poet, her passion and daring linguistic experimentation mark her as a historical chronicler of her times and the depths of the human condition.
981:, 1923) contains one of Tsvetaeva's best-known cycles "Insomnia" (Bessonnitsa) and the poem The Swans' Encampment (Lebedinyi stan, Stikhi 1917–1921, published in 1957) which celebrates the
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as a whole: the "Poems of Moscow." Two other cycles are dedicated to poets, the "Poems to Akhmatova" and the "Poems to Blok", which again reappear in a separate volume, Poems to Blok (
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Tsvetaeva's lyric poems fill ten collections; the uncollected lyrics would add at least another volume. Her first two collections indicate their subject matter in their titles:
662:, to which Tsvetaeva had been a frequent contributor, refused point-blank to publish any more of her work. She found solace in her correspondence with other writers, including
969:, 1922) and "The Swain", subtitled "A Fairytale" ("Molodets: skazka", 1924). The fourth folklore-style poem is "Byways" ("Pereulochki", published in 1923 in the collection
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she had previously contracted in 1902. She received a small stipend from the Czechoslovak government, which gave financial support to artists and writers who had lived in
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585:("After Russia", 1928). Reflecting a life in poverty and exiled, the work holds great nostalgia for Russia and its folk history, while experimenting with verse forms.
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766:. Tsvetaeva had no means of support in Yelabuga, and on 24 August 1941 she left for Chistopol desperately seeking a job. On 26 August, Marina Tsvetaeva and poet
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334:, and this movement was to colour most of her later work. It was not the theory which was to attract her, but the poetry and the gravity which writers such as
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Tsvetaeva's two half-siblings, Valeria and Andrei, were the children of Ivan's deceased first wife, Varvara Dmitrievna Ilovaiskaya, daughter of the historian
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1522:"Poem of the End" in "From A Terrace in Prague, A Prague Poetry Anthology", trans. Mary Jane White, ed. Stephan Delbos (Univerzita Karlova v Praze, 2011)
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her, but Irina died there of starvation in 1920. The child's death caused Tsvetaeva great grief and regret. In one letter, she wrote, "God punished me."
440:. Tsvetaeva and her husband spent summers in the Crimea until the revolution, and had two daughters: Ariadna, or Alya (born 1912) and Irina (born 1917).
1038:. The Ratcatcher, which is also known as The Pied Piper, is considered by some to be the finest of Tsvetaeva's work. It was also partially an act of
458:, and Marina returned to Moscow hoping to be reunited with her husband. She was trapped in Moscow for five years, where there was a terrible famine.
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782:, the local NKVD department tried to force Tsvetaeva to start working as their informant, which left her no choice other than to die by suicide.
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488:, for whom she wrote a number of plays. Many years later, she would write the novella "Povest o Sonechke" about her relationship with Holliday.
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had made Europe as unsafe and hostile as the USSR. In 1939, Tsvetaeva became lonely and alarmed by the rise of fascism, which she attacked in
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533:. Living in unremitting poverty, unable to afford living accommodation in Prague itself, with Efron studying politics and sociology at the
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701:. Later that year, Efron too had to return to the USSR. The French police had implicated him in the murder of the former Soviet defector
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Meanwhile, Tsvetaeva's husband Efron was developing Soviet sympathies and was homesick for Russia. Eventually, he began working for the
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973:), and it is the first poem which may be deemed incomprehensible in that it is fundamentally a soundscape of language. The collection
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404:("Blue Height"), which was a well-known haven for writers, poets and artists. She became enamoured of the work of Alexander Blok and
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with the faith of a true romantic, a priestess of lived emotion. And she stayed true to that faith to the tragic end of her life.
566:. Tsvetaeva and Pasternak were not to meet for nearly twenty years, but maintained friendship until Tsvetaeva's return to Russia.
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1366:, trans. Elaine Feinstein (The Delos Press and The Menard Press, 1992) ISBN I-874320-00-4 and ISBN I-874320-05-5 (signed ed.)
1714:"Tsvetaeva, Marina Ivanovna" The Oxford Companion to English Literature. Edited by Dinah Birch. Oxford University Press Inc.
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529:. Much of her poetry was published in Moscow and Berlin, consolidating her reputation. In August 1922, the family moved to
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translated many of Tsvetaeva's long (narrative) poems, as well as her lyrical poems; they are collected in three books,
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Efron and Alya were arrested on espionage charges in 1941; Efron was sentenced to death. Alya's fiancé was actually an
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420:. Tsvetaeva's love for Efron was intense; however, this did not preclude her from having affairs, including one with
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Tsvetaeva was buried in Yelabuga cemetery on 2 September 1941, but the exact location of her grave remains unknown.
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collections demonstrate the dramatic quality of Tsvetaeva's work, and her ability to assume the guise of multiple
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and named Marina Tsvetaeva in her honor. From 2007, the ship served as a tourist vessel to the polar regions for
697:. Their daughter Alya shared his views, and increasingly turned against her mother. In 1937, she returned to the
408:, although she never met Blok and did not meet Akhmatova until the 1940s. Describing the Koktebel community, the
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1286:. (Oxford University Press, 1971; 2nd ed., 1981; 3rd ed., 1986; 4th ed., 1993; 5th ed., 1999; 6th ed. 2009 as
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1914:", published by Northwestern University Press, August 2009), date of death is stated in the catalogue data.
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330:. During this time, a major revolutionary change was occurring within Russian poetry: the flowering of the
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Subsequently, as an émigré, Tsvetaeva's last two collections of lyrics were published by émigré presses,
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This is well documented and supported particularly by a letter which he wrote to Voloshin on the matter.
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revolutionaries residing at that time in Nervi, who may have had some influence on the young Tsvetaeva.
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Tsvetaeva, Edited & annotated by Angela . Viktoria Schweitzer, London: Harvill, 1992, pp. 332, 345.
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with Efron, who she had thought had been killed by the Bolsheviks. There she published the collections
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She wrote six plays in verse and narrative poems. Between 1917 and 1922 she wrote the epic verse cycle
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1152:, with notes on poetic and linguistic aspects of Tsvetaeva's prose, and endnotes for the text itself.
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1832:. By Irma Kudrova. Trans. by Mary Ann Szporluk. Woodstock, New York, and London: Overlook Duckworth.
1108:(bilingual edition published by Ardis in 1998, by Overlook in 2004, and by Shearsman Books in 2021),
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1473:(180 poems written between November 1918 and May 1920) (Archipelago Press, New York, 2014), 268pp,
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in 1925–1926 whilst still being written. It was not to appear in the Soviet Union until after the
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639:, where they would live for the next 14 years. At about this time Tsvetaeva had a relapse of the
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and "The Poem of the Mountain". At about the same time, Tsvetaeva began correspondence with poet
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collections. First, Tsvetaeva dates her poems and publishes them chronologically. The poems in
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daring linguistic experimentation, brought her increasing recognition as a major Russian poet.
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1541:, translated by Christopher Whyte (Bristol, Shearsman Books, 2022), 120 pp, ISBN 9781848618435
1535:, translated by Christopher Whyte (Bristol, Shearsman Books, 2021), 114 pp, ISBN 9781848617315
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has translated a number of Tsvetaeva's essays on art and writing, compiled in a book called
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In 1939, she and her son returned to Moscow, unaware of the reception she would receive. In
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During these years, Tsvetaeva maintained a close and intense friendship with the actress
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In summer 1924, Efron and Tsvetaeva left Prague for the suburbs, living for a while in
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1423:(Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke) (New York Review Books, 2001)
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featuring her poems. Her poem "Mne Nravitsya..." ("I like that..."), was performed by
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translated a great deal of Tsvetaeva's prose into English, compiled in a book called
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I loved them to the last moment and explain to them that I found myself in a trap."
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In 1914, Efron volunteered for the front and by 1917 he was an officer stationed in
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1250:, the first classical song cycle of the poet in an English translation. Soprano
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The poem "For my poems" by Tsvetaeva on a wall of the building at Nieuwsteeg 1,
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1050:. The Ratcatcher appeared initially, in serial format, in the émigré journal
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Russian women, 1698–1917: Experience and expression, an anthology of sources
1512:, translated by Christopher Whyte (Bristol, Shearsman Books, 2018) 121 pp,
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1303:, trans. Robin Kemball (bilingual edition, Ardis, 1980) ISBN 978-0882334936
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translated by Christopher Whyte (Bristol, Shearsman Books, 2017), 141 pp,
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428:. At around the same time, she became involved in an affair with the poet
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translated by Christopher Whyte (Bristol, Shearsman Books, 2015), 122p,
358:. Voloshin came to see Tsvetaeva and soon became her friend and mentor.
1116:(Poets & Traitors Press, 2020). Robin Kemball translated the cycle
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Phaedra: a drama in verse; with New Year's Letter and other long poems
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No Love Without Poetry: The Memoirs of Marina Tsvetaeva's Daughter
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No Love Without Poetry: The Memoirs of Marina Tsvetaeva's Daughter
1547:, trans. Alyssa Gillespie (Columbia University Press, forthcoming)
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Page of Marina Tsvetaeva at Synthesis of Poetry and Music website
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1429:, ed. & trans. Jamey Gambrell (Yale University Press, 2002)
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The Bitter air of exile: Russian writers in the West, 1922–1972
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were capable of generating. Her own first collection of poems,
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shift from invective, to extended lyrical flights, to pathos.
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1323:"Starry Sky to Starry Sky (Miles)", trans. Mary Jane White. (
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1120:, published as a separate (bilingual) book by Ardis in 1980.
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1410:, trans. Angela Livingstone (Northwestern University, 2000)
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In 1908, aged 16, Tsvetaeva studied literary history at the
1901:", published by Northwestern University Press, August 2009)
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In the Inmost Hour of the Soul: Poems by Marina Tsvetayeva
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2152:"From Poetry to Song: A Russian Poet's Work Makes a Debut"
1816:"The Death of a Poet: The Last Days of Marina Tsvetaeva",
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1924:
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Three elements of Tsvetaeva's mature style emerge in the
896:. Later, that recognition was also expressed by the poet
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1946:(5th ed.). New York: Springer Verlag. p. 294.
1664:(1985). Simon Karlinsky, Cambridge University Press p18
424:, which she celebrated in a collection of poems called
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The Death of a Poet: The Last Days of Marina Tsvetaeva
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Marina Tsvetaeva: The Woman, Her World, and Her Poetry
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Poem of the End: Selected Narrative and Lyrical Poems
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The Death of a Poet: The Last Days of Marina Tsvetaeva
1400: ; Poem of the End: Six Narrative Poems, trans.
1206:, based on Tsvetaeva's life and work, premiered from
1148:'s translation of post-revolutionary prose, entitled
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Translators of Tsvetaeva's work into English include
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Marina Tsvetaeva: the double beat of Heaven and Hell
1369:"After Russia", trans. Michael Nayden (Ardis, 1992).
2044:(in Russian). No. 286. MN, USA. Archived from
1553:, trans. Andrew Davis (New York Review Books, 2024)
1442:, trans. Angela Livingstone (Angel Classics, 2012)
819:, Poland, a special-purpose ship was built for the
396:She began spending time at Voloshin's home in the
617:And soon all of us will sleep under the earth, we
615:the storm of stars in the sky will turn to quiet.
613:The wind is level now, the earth is wet with dew,
603:No need for people anywhere on earth to struggle.
2266:
872:Tsvetaeva's poetry was admired by poets such as
1404:(Shearsman Books, 2021) ISBN 978-1-84861-778-0)
656:. In the wake of this letter, the émigré paper
354:, whom Tsvetaeva described after his death in
319:In June 1904, Tsvetaeva was sent to school in
1375:, trans. J. Marin King (Vintage Books, 1994)
605:Look—it is evening, look, it is nearly night:
214:
2233:, English language publisher of Tsvetaeva's
2178:"Marina Ivanovna Tsvetaeva's 123rd Birthday"
1273:
849:Amidst the dust of bookshops, wide dispersed
19:For other people with the same surname, see
2219:#31, April 2005. Republished online in the
1966:Karlinsky, Simon and Appel, Alfred (1977).
538:to replace the one she had been living in.
236:of 1917 and the subsequent Moscow famine.
838:as a tourist vessel in the polar regions.
808:, discovered in 1982 by Soviet astronomer
705:in September 1937, on a country lane near
601:I know the truth—give up all other truths!
61:
2084:– Tsvetaeva, Blok and Mandelshtam, 1992;
1870:
1747:
1745:
1743:
1539:Head on a Gleaming Plate: Poems 1917-1918
619:who never let each other sleep above it.
610:do you speak of, poets, lovers, generals?
541:Tsvetaeva began a passionate affair with
225:[mɐˈrʲinəɪˈvanəvnətsvʲɪˈta(j)ɪvə]
1941:
1456:and Elysee Wilson-Egolf (Sumizdat 2012)
1427:Earthly Signs: Moscow Diaries, 1917–1922
1150:Earthly Signs: Moscow Diaries, 1917–1922
1070:
1034:, is loosely based on the legend of the
1011:
853:Yet similar to precious wines, my verse
729:
509:In May 1922, Tsvetaeva and Ariadna left
500:
384:
373:
365:
2315:Suicides by hanging in the Soviet Union
2259:The brief biography of Marina Tsvetaeva
1772:"Marina Tsvetaeva, Poet of the extreme"
1710:
2267:
2036:[Marina Tsvetaeva in America]
2032:Zislin, Uli (September–October 2017).
2031:
1790:
1740:
1708:
1706:
1704:
1702:
1700:
1698:
1696:
1694:
1692:
1690:
1222:and the part of Tsvetaeva was sung by
758:(Elabuga), while most families of the
726:Last years: Return to the Soviet Union
370:The house where Marina lived in Moscow
2002:
1970:. p72 University of California Press
1648:
1614:
1612:
1610:
1608:
1606:
1604:
1602:
1600:
1598:
1155:
1030:poem, which Tsvetaeva describes as a
1016:USSR stamp featuring Tsvetaeva (1991)
625:"I know the truth" Tsvetaeva (1915).
450:Tsvetaeva was a close witness of the
223:
2008:"Marina Tsvetaeva and the Poet-Pair"
1646:
1644:
1642:
1640:
1638:
1636:
1634:
1632:
1630:
1628:
1452:"To You – in 10 Decades", trans. by
1254:recorded the piece for Abel’s album
1178:set six of Tsvetaeva's poems in his
851:And never purchased there by anyone,
496:
361:
2310:Women poets from the Russian Empire
2253:a more extensive version in Russian
1810:
1724:
1722:
1720:
1687:
1184:. Later the Russian-Tatar composer
788:Her son Georgy volunteered for the
682:, and the Georgian émigré princess
13:
2300:German emigrants to Czechoslovakia
2290:20th-century Russian women writers
1620:Who's Who in the Twentieth Century
1595:
1557:
1169:
14:
2376:
2355:20th-century Russian LGBTQ people
2187:
1769:
1684:. Indiana University Press p. 143
1625:
1510:After Russia: The Second Notebook
1497:After Russia: The First Notebook,
1307:Marina Tsvetayeva: Selected Poems
1270:commemorated her 123rd birthday.
1218:. The production was directed by
267:, a professor of Fine Art at the
2305:Diarists from the Russian Empire
2239:Marina Tsvetaeva: Selected Poems
1944:Dictionary of Minor Planet Names
1842:link to Russian language version
1717:
1622:. Oxford University Press, 1999.
1408:The Ratcatcher: A Lyrical Satire
1373:A Captive Spirit: Selected Prose
1288:Bride of Ice: New Selected Poems
356:A Living Word About a Living Man
293:. Tsvetaeva's only full sister,
196:
2170:
2144:
2116:
2070:
2055:
2025:
1996:
1980:
1960:
1935:
1917:
1904:
1891:
1864:
1846:
1823:
1763:
1392:(Ardis / Overlook, 1998, 2004)
855:Can wait – its time will come.
722:("Verses to Czechia" 1938–39).
635:In 1925, the family settled in
169:
1800:. Duke University Press. p264
1754:
1731:
1674:
1655:
1248:Four Poems of Marina Tsvetaeva
1181:Six Poems by Marina Tsvetayeva
1134:Art in the Light of Conscience
1110:In the Inmost Hour of the Soul
1087:
254:
1:
2345:20th-century Russian diarists
2251:, a resource in English with
2249:Heritage of Marina Tsvetayeva
1618:"Tsvetaeva, Marina Ivanovna"
1589:
1242:. In 2019, American composer
834:and is currently operated by
259:Marina Tsvetaeva was born in
28:Eastern Slavic naming customs
1925:"Дом-музей Марины Цветаевой"
912:(Vecherniy albom, 1910) and
7:
2295:Soviet emigrants to Germany
2034:"Марина Цветаева в Америке"
1190:Hommage à Marina Tsvetayeva
988:
827:. In 2011, she was renamed
821:Russian Academy of Sciences
467:The Encampment of the Swans
265:Ivan Vladimirovich Tsvetaev
10:
2381:
2340:20th-century Russian poets
2320:University of Paris alumni
2227:Marina Tsvetaeva biography
1942:Schmadel, Lutz D. (2003).
1929:Дом-музей Марины Цветаевой
1877:. Doubleday. p. 446.
1261:
1256:The Cave of Wondrous Voice
1210:in New York with music by
1112:(Humana Press, 1989), and
967:Tsar-devitsa: Poema-skazka
924:(Versty, Vypusk I, 1922).
332:Russian symbolist movement
300:In 1902, Maria contracted
26:In this name that follows
25:
18:
2223:'s Poetry Magazines site.
1584:An Essay in Autobiography
1467:Moscow in the Plague Year
1313:. (Bloodaxe Books, 1987)
1274:Translations into English
1174:In 1973, Soviet composer
1020:
486:Sofia Evgenievna Holliday
215:
207:Marina Ivanovna Tsvetaeva
195:
190:
179:
154:
144:
133:
125:
97:
76:Marina Ivanovna Tsvetaeva
72:
60:
53:
1871:Applebaum, Anne (2003).
1820:, July 2006 by Ute Stock
1301:The Demesne of the Swans
1204:Marina: A Captive Spirit
1118:The Demesne of the Swans
693:, the forerunner of the
588:
491:
447:with the 56th Reserve.
216:Марина Ивановна Цветаева
16:Russian poet (1892–1941)
1208:American Opera Projects
841:
760:Union of Soviet Writers
505:Marina Tsvetaeva (1913)
277:Maria Alexandrovna Mein
275:). Tsvetaeva's mother,
2325:Russian women diarists
2212:by Belinda Cooke from
1818:Modern Language Review
1080:
1065:death of Joseph Stalin
1017:
1001:, 1923) in Berlin and
943:, 1922). Thirdly, the
858:
812:, is named after her.
778:According to the book
735:
622:
573:, before moving on to
506:
393:
382:
371:
228:; 8 October [
1796:Feiler, Lily (1994).
1680:Bisha, Robin (2002).
1576:Mandelstam, Nadezhda
1570:Mandelstam, Nadezhda
1563:Schweitzer, Viktoria
1353:(Humana Press, 1989)
1214:and libretto by poet
1202:. In 2003, the opera
1142:Yale University Press
1074:
1036:Pied Piper of Hamelin
1015:
846:
836:Oceanwide Expeditions
734:Сenotaph to Tsvetaeva
733:
593:
543:Konstantyn Rodziewicz
513:and were reunited in
504:
436:, and at other times
388:
377:
369:
2133:6 March 2016 at the
1751:Feinstein (1993) pxi
1652:Feinstein (1993) pix
1421:Letters: Summer 1926
1128:. Tsvetaeva scholar
581:("Craft", 1923) and
390:Ariadne (Alya) Efron
378:Tsvetaeva's husband
269:University of Moscow
2365:Russian women poets
2335:Russian LGBTQ poets
2330:Writers from Moscow
2208:Poet of the extreme
2206:"Marina Tsvetaeva,
2124:Larisa Novoseltseva
1728:Feinstein (1993) px
1266:On 8 October 2015,
1232:Larisa Novoseltseva
1176:Dmitri Shostakovich
963:: A Fairy-tale Poem
937:Mileposts: Book One
933:Mileposts: Book One
922:Mileposts: Book One
920:(Versty, 1921) and
878:Maximilian Voloshin
810:Lyudmila Karachkina
684:Salomea Andronikova
654:Vladimir Mayakovsky
555:The Poem of the End
413:Viktoria Schweitzer
352:Maximilian Voloshin
244:and their daughter
2360:Soviet women poets
2104:El sol de la tarde
2051:on 14 August 2018.
1551:Three by Tsvetaeva
1484:Milestones (1922),
1454:Alexander Givental
1156:Cultural influence
1130:Angela Livingstone
1081:
1018:
890:Rainer Maria Rilke
861:Tsvetaeva (1913).
825:Aurora Expeditions
762:were evacuated to
736:
680:Aleksandr Bakhrakh
668:Rainer Maria Rilke
659:Posledniye Novosti
560:Rainer Maria Rilke
535:Charles University
507:
452:Russian Revolution
394:
383:
372:
263:, the daughter of
234:Russian Revolution
2194:Poetry Foundation
2180:. 8 October 2015.
2012:Poetry Foundation
1976:978-0-520-02895-1
1884:978-0-7679-0056-0
1806:978-0-8223-1482-0
1778:on 20 August 2017
1582:Pasternak, Boris
1572:Hope Against Hope
1528:978-80-7308-349-6
1518:978-1-84861-551-9
1505:978-1-84861-549-6
1492:978-1-84861-416-1
1479:978-1-935744-96-2
1471:Christopher Whyte
1462:978-0-9779852-7-2
1199:The Irony of Fate
1186:Sofia Gubaidulina
949:dramatis personae
914:The Magic Lantern
670:, the Czech poet
497:Berlin and Prague
477:("Tsar-Maiden").
416:attended by Tsar
362:Family and career
204:
203:
149:Russian symbolism
145:Literary movement
67:Tsvetaeva in 1925
2372:
2243:Elaine Feinstein
2241:, translated by
2182:
2181:
2174:
2168:
2167:
2165:
2163:
2158:. 10 August 2020
2148:
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2110:Khvanyn'-Kolyvan
2098:Annunciation Day
2074:
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2018:
2006:(8 March 2009).
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1957:
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1932:
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1874:Gulag: A History
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1850:
1844:
1827:
1821:
1814:
1808:
1794:
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1774:. Archived from
1770:Cooke, Belinda.
1767:
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1469:, translated by
1284:Elaine Feinstein
1212:Deborah Drattell
1126:A Captive Spirit
1094:Elaine Feinstein
1061:
1048:Die Wanderratten
868:
865:Vladimir Nabokov
768:Valentin Parnakh
720:Stikhi k Chekhii
631:
629:Elaine Feinstein
597:I Know the Truth
551:
291:Dmitry Ilovaisky
285:
227:
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55:Marina Tsvetaeva
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2265:
2264:
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2176:
2175:
2171:
2161:
2159:
2150:
2149:
2145:
2135:Wayback Machine
2121:
2117:
2101:(1995 record);
2075:
2071:
2066:Russian Romance
2060:
2056:
2048:
2037:
2030:
2026:
2016:
2014:
2001:
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1940:
1936:
1923:
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1865:
1858:www.youtube.com
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1596:
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1560:
1558:Further reading
1533:Youthful Verses
1325:Holy Cow! Press
1276:
1264:
1236:Zlata Razdolina
1224:Lauren Flanigan
1172:
1170:Music and songs
1158:
1114:Other Shepherds
1106:Poem of the End
1090:
1055:
1023:
991:
961:The Maiden Tsar
954:The collection
886:Boris Pasternak
882:Osip Mandelstam
870:
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844:
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664:Boris Pasternak
633:
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564:Boris Pasternak
545:
527:The Tsar Maiden
525:, and the poem
499:
494:
422:Osip Mandelstam
364:
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175:
172: 1912)
167:
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129:Poet and writer
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2231:Carcanet Press
2224:
2221:Poetry Library
2203:
2200:Poetry Academy
2197:
2189:
2188:External links
2186:
2184:
2183:
2169:
2143:
2141:and Tsvetaeva.
2115:
2082:Angel and lion
2069:
2054:
2024:
1995:
1991:Carcanet Press
1987:Brodsky review
1979:
1959:
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1578:Hope Abandoned
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1448:978-0946162819
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1405:
1383:
1370:
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1344:
1321:
1319:978-1852240257
1304:
1298:
1280:Selected Poems
1275:
1272:
1263:
1260:
1194:Alla Pugacheva
1171:
1168:
1167:
1166:
1157:
1154:
1146:Jamey Gambrell
1089:
1086:
1044:Heinrich Heine
1032:lyrical satire
1028:The Ratcatcher
1022:
1019:
990:
987:
941:Stikhi k Bloku
898:Joseph Brodsky
894:Anna Akhmatova
874:Valery Bryusov
847:
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806:3511 Tsvetaeva
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674:, the critics
645:Czechoslovakia
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463:Lebedinyi stan
434:The Girlfriend
406:Anna Akhmatova
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344:Vecherny Albom
340:Alexander Blok
273:Pushkin Museum
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105:(aged 48)
101:31 August 1941
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2156:Russian Life
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2086:My Tsvetaeva
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2004:Finch, Annie
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1390:Nina Kossman
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1335:(paper) and
1311:David McDuff
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716:World War II
703:Ignace Reiss
699:Soviet Union
688:
676:D. S. Mirsky
672:Anna Tesková
657:
641:tuberculosis
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623:
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474:
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380:Sergei Efron
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302:tuberculosis
299:
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242:Sergei Efron
238:
206:
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161:Sergei Efron
120:Soviet Union
116:Russian SFSR
103:(1941-08-31)
48:
43:
35:
2285:1941 deaths
2275:1892 births
2139:Akhmadulina
1854:"- YouTube"
1364:Black Earth
1220:Anne Bogart
1216:Annie Finch
1088:Translators
1056: [
902:Annie Finch
546: [
438:The Mistake
418:Nicholas II
336:Andrei Bely
280: [
255:Early years
40:family name
2269:Categories
1590:References
1238:and other
1144:published
983:White Army
956:Separation
627:Trans. by
519:Separation
456:White Army
400:resort of
126:Occupation
112:Tatar ASSR
81:1892-10-08
32:patronymic
2162:24 August
2122:Songs by
2076:Songs by
1565:Tsvetaeva
1388:, trans.
1349:, trans.
1327:, 1988),
1309:, trans.
1282:, trans.
1244:Mark Abel
1188:wrote an
945:Mileposts
929:Mileposts
918:Mileposts
764:Chistopol
571:Jíloviště
471:civil war
426:Mileposts
398:Black Sea
295:Anastasia
191:Signature
134:Education
44:Tsvetaeva
21:Tsvetayev
2217:magazine
2131:Archived
2107:, 2008,
2017:22 April
1782:21 April
1046:'s poem
989:Emigrant
979:Psikheya
831:Ortelius
829:MV
756:Yelabuga
707:Lausanne
402:Koktebel
328:Sorbonne
321:Lausanne
180:Children
138:Sorbonne
108:Yelabuga
36:Ivanovna
2202:profile
2196:profile
2042:Zerkalo
1343:(cloth)
1262:Tribute
1163:Zerkalo
999:Remeslo
971:Remeslo
863:Trans.
649:'White'
579:Remeslo
575:Všenory
308:, near
246:Ariadna
211:Russian
174:
166:
140:, Paris
2128:Candle
2113:, 2007
2093:part 2
2089:part 1
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1077:Leiden
1040:homage
1021:Satire
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892:, and
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817:Gdynia
740:Stalin
531:Prague
515:Berlin
445:Moscow
410:émigré
392:, 1926
314:émigré
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492:Exile
310:Genoa
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1292:ISBN
1096:and
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751:NKVD
691:NKVD
678:and
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