911:, 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
697:, 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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308:, 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."
588:, 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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753:'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;
484:, 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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927:(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:
1020:, 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.
720:, 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
1176:("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.
1151:, "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,
658:. 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-
334:. 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".
969:(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,
443:, 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
946:, 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
465:, 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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1147:. 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
361:), 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
297:, 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.
323:. 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
243:
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
315:. 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
563:, 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.
992:, 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:
673:, 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
980:, 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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596:("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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777:. 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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345:, 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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1533:"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."
451:. 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).
1049:. 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
469:, 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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793:, 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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499:, 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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544:. Living in unremitting poverty, unable to afford living accommodation in Prague itself, with Efron studying politics and sociology at the
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712:. 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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984:), 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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415:("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.
577:. Tsvetaeva and Pasternak were not to meet for nearly twenty years, but maintained friendship until Tsvetaeva's return to Russia.
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1377:, trans. Elaine Feinstein (The Delos Press and The Menard Press, 1992) ISBN I-874320-00-4 and ISBN I-874320-05-5 (signed ed.)
1725:"Tsvetaeva, Marina Ivanovna" The Oxford Companion to English Literature. Edited by Dinah Birch. Oxford University Press Inc.
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540:. 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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431:. 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
708:. Their daughter Alya shared his views, and increasingly turned against her mother. In 1937, she returned to the
419:, although she never met Blok and did not meet Akhmatova until the 1940s. Describing the Koktebel community, the
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1297:. (Oxford University Press, 1971; 2nd ed., 1981; 3rd ed., 1986; 4th ed., 1993; 5th ed., 1999; 6th ed. 2009 as
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1925:", published by Northwestern University Press, August 2009), date of death is stated in the catalogue data.
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341:. 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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17:
1163:, with notes on poetic and linguistic aspects of Tsvetaeva's prose, and endnotes for the text itself.
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1843:. By Irma Kudrova. Trans. by Mary Ann Szporluk. Woodstock, New York, and London: Overlook Duckworth.
1119:(bilingual edition published by Ardis in 1998, by Overlook in 2004, and by Shearsman Books in 2021),
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1484:(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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650:, 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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1552:, translated by Christopher Whyte (Bristol, Shearsman Books, 2022), 120 pp, ISBN 9781848618435
1546:, 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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1434:(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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259:(Alya) were arrested on espionage charges in 1941, when her husband was executed.
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1261:, 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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1061:. 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
1523:, translated by Christopher Whyte (Bristol, Shearsman Books, 2018) 121 pp,
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1314:, 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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439:. 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,
369:. Voloshin came to see Tsvetaeva and soon became her friend and mentor.
1127:(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
1558:, 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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1440:, ed. & trans. Jamey Gambrell (Yale University Press, 2002)
1979:
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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1334:"Starry Sky to Starry Sky (Miles)", trans. Mary Jane White. (
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1131:, published as a separate (bilingual) book by Ardis in 1980.
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1421:, trans. Angela Livingstone (Northwestern University, 2000)
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In 1908, aged 16, Tsvetaeva studied literary history at the
1912:", 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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2163:"From Poetry to Song: A Russian Poet's Work Makes a Debut"
1827:"The Death of a Poet: The Last Days of Marina Tsvetaeva",
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1935:
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Three elements of Tsvetaeva's mature style emerge in the
907:. Later, that recognition was also expressed by the poet
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1957:(5th ed.). New York: Springer Verlag. p. 294.
1675:(1985). Simon Karlinsky, Cambridge University Press p18
435:, 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
1411: ; Poem of the End: Six Narrative Poems, trans.
1217:, based on Tsvetaeva's life and work, premiered from
1159:'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
1380:"After Russia", trans. Michael Nayden (Ardis, 1992).
2055:(in Russian). No. 286. MN, USA. Archived from
1564:, trans. Andrew Davis (New York Review Books, 2024)
1453:, trans. Angela Livingstone (Angel Classics, 2012)
830:, Poland, a special-purpose ship was built for the
407:She began spending time at Voloshin's home in the
628:And soon all of us will sleep under the earth, we
626:the storm of stars in the sky will turn to quiet.
624:The wind is level now, the earth is wet with dew,
614:No need for people anywhere on earth to struggle.
2277:
883:Tsvetaeva's poetry was admired by poets such as
1415:(Shearsman Books, 2021) ISBN 978-1-84861-778-0)
667:. In the wake of this letter, the émigré paper
365:, whom Tsvetaeva described after his death in
330:In June 1904, Tsvetaeva was sent to school in
1386:, trans. J. Marin King (Vintage Books, 1994)
616:Look—it is evening, look, it is nearly night:
225:
2244:, English language publisher of Tsvetaeva's
2189:"Marina Ivanovna Tsvetaeva's 123rd Birthday"
1284:
860:Amidst the dust of bookshops, wide dispersed
30:For other people with the same surname, see
2230:#31, April 2005. Republished online in the
1977:Karlinsky, Simon and Appel, Alfred (1977).
549:to replace the one she had been living in.
247:of 1917 and the subsequent Moscow famine.
849:as a tourist vessel in the polar regions.
819:, discovered in 1982 by Soviet astronomer
716:in September 1937, on a country lane near
612:I know the truth—give up all other truths!
72:
2095:– Tsvetaeva, Blok and Mandelshtam, 1992;
1881:
1758:
1756:
1754:
1550:Head on a Gleaming Plate: Poems 1917-1918
630:who never let each other sleep above it.
621:do you speak of, poets, lovers, generals?
552:Tsvetaeva began a passionate affair with
236:[mɐˈrʲinəɪˈvanəvnətsvʲɪˈta(j)ɪvə]
1952:
1467:and Elysee Wilson-Egolf (Sumizdat 2012)
1438:Earthly Signs: Moscow Diaries, 1917–1922
1161:Earthly Signs: Moscow Diaries, 1917–1922
1081:
1045:, is loosely based on the legend of the
1022:
864:Yet similar to precious wines, my verse
740:
520:In May 1922, Tsvetaeva and Ariadna left
511:
395:
384:
376:
2326:Suicides by hanging in the Soviet Union
2270:The brief biography of Marina Tsvetaeva
1783:"Marina Tsvetaeva, Poet of the extreme"
1721:
14:
2278:
2047:[Marina Tsvetaeva in America]
2043:Zislin, Uli (September–October 2017).
2042:
1801:
1751:
1719:
1717:
1715:
1713:
1711:
1709:
1707:
1705:
1703:
1701:
1233:and the part of Tsvetaeva was sung by
769:(Elabuga), while most families of the
737:Last years: Return to the Soviet Union
381:The house where Marina lived in Moscow
2013:
1981:. p72 University of California Press
1659:
1625:
1623:
1621:
1619:
1617:
1615:
1613:
1611:
1609:
1166:
1041:poem, which Tsvetaeva describes as a
1027:USSR stamp featuring Tsvetaeva (1991)
636:"I know the truth" Tsvetaeva (1915).
461:Tsvetaeva was a close witness of the
234:
2019:"Marina Tsvetaeva and the Poet-Pair"
1657:
1655:
1653:
1651:
1649:
1647:
1645:
1643:
1641:
1639:
1463:"To You – in 10 Decades", trans. by
1265:recorded the piece for Abel’s album
1189:set six of Tsvetaeva's poems in his
862:And never purchased there by anyone,
507:
372:
2321:Women poets from the Russian Empire
2264:a more extensive version in Russian
1821:
1735:
1733:
1731:
1698:
1195:. Later the Russian-Tatar composer
799:Her son Georgy volunteered for the
693:, and the Georgian émigré princess
24:
2311:German emigrants to Czechoslovakia
2301:20th-century Russian women writers
1631:Who's Who in the Twentieth Century
1606:
1568:
1180:
25:
2387:
2366:20th-century Russian LGBTQ people
2198:
1780:
1695:. Indiana University Press p. 143
1636:
1521:After Russia: The Second Notebook
1508:After Russia: The First Notebook,
1318:Marina Tsvetayeva: Selected Poems
1281:commemorated her 123rd birthday.
1229:. The production was directed by
278:, a professor of Fine Art at the
2316:Diarists from the Russian Empire
2250:Marina Tsvetaeva: Selected Poems
1955:Dictionary of Minor Planet Names
1853:link to Russian language version
1728:
1633:. Oxford University Press, 1999.
1419:The Ratcatcher: A Lyrical Satire
1384:A Captive Spirit: Selected Prose
1299:Bride of Ice: New Selected Poems
367:A Living Word About a Living Man
304:. Tsvetaeva's only full sister,
207:
2181:
2155:
2127:
2081:
2066:
2036:
2007:
1991:
1971:
1946:
1928:
1915:
1902:
1875:
1857:
1834:
1774:
1403:(Ardis / Overlook, 1998, 2004)
866:Can wait – its time will come.
733:("Verses to Czechia" 1938–39).
646:In 1925, the family settled in
180:
1811:. Duke University Press. p264
1765:
1742:
1685:
1666:
1259:Four Poems of Marina Tsvetaeva
1192:Six Poems by Marina Tsvetayeva
1145:Art in the Light of Conscience
1121:In the Inmost Hour of the Soul
1098:
265:
13:
1:
2356:20th-century Russian diarists
2262:, a resource in English with
2260:Heritage of Marina Tsvetayeva
1629:"Tsvetaeva, Marina Ivanovna"
1600:
1253:. In 2019, American composer
845:and is currently operated by
270:Marina Tsvetaeva was born in
39:Eastern Slavic naming customs
1936:"Дом-музей Марины Цветаевой"
923:(Vecherniy albom, 1910) and
7:
2306:Soviet emigrants to Germany
2045:"Марина Цветаева в Америке"
1201:Hommage à Marina Tsvetayeva
999:
838:. In 2011, she was renamed
832:Russian Academy of Sciences
478:The Encampment of the Swans
276:Ivan Vladimirovich Tsvetaev
10:
2392:
2351:20th-century Russian poets
2331:University of Paris alumni
2238:Marina Tsvetaeva biography
1953:Schmadel, Lutz D. (2003).
1940:Дом-музей Марины Цветаевой
1888:. Doubleday. p. 446.
1272:
1267:The Cave of Wondrous Voice
1221:in New York with music by
1123:(Humana Press, 1989), and
978:Tsar-devitsa: Poema-skazka
935:(Versty, Vypusk I, 1922).
343:Russian symbolist movement
311:In 1902, Maria contracted
37:In this name that follows
36:
29:
2234:'s Poetry Magazines site.
1595:An Essay in Autobiography
1478:Moscow in the Plague Year
1324:. (Bloodaxe Books, 1987)
1285:Translations into English
1185:In 1973, Soviet composer
1031:
497:Sofia Evgenievna Holliday
226:
218:Marina Ivanovna Tsvetaeva
206:
201:
190:
165:
155:
144:
136:
108:
87:Marina Ivanovna Tsvetaeva
83:
71:
64:
1882:Applebaum, Anne (2003).
1831:, July 2006 by Ute Stock
1312:The Demesne of the Swans
1215:Marina: A Captive Spirit
1129:The Demesne of the Swans
704:, the forerunner of the
599:
502:
458:with the 56th Reserve.
227:Марина Ивановна Цветаева
27:Russian poet (1892–1941)
1219:American Opera Projects
852:
771:Union of Soviet Writers
516:Marina Tsvetaeva (1913)
288:Maria Alexandrovna Mein
286:). Tsvetaeva's mother,
2336:Russian women diarists
2223:by Belinda Cooke from
1829:Modern Language Review
1091:
1076:death of Joseph Stalin
1028:
1012:, 1923) in Berlin and
954:, 1922). Thirdly, the
869:
823:, is named after her.
789:According to the book
746:
633:
584:, before moving on to
517:
404:
393:
382:
239:; 8 October [
1807:Feiler, Lily (1994).
1691:Bisha, Robin (2002).
1587:Mandelstam, Nadezhda
1581:Mandelstam, Nadezhda
1574:Schweitzer, Viktoria
1364:(Humana Press, 1989)
1225:and libretto by poet
1213:. In 2003, the opera
1153:Yale University Press
1085:
1047:Pied Piper of Hamelin
1026:
857:
847:Oceanwide Expeditions
745:Сenotaph to Tsvetaeva
744:
604:
554:Konstantyn Rodziewicz
524:and were reunited in
515:
447:, and at other times
399:
388:
380:
2144:6 March 2016 at the
1762:Feinstein (1993) pxi
1663:Feinstein (1993) pix
1432:Letters: Summer 1926
1139:. Tsvetaeva scholar
592:("Craft", 1923) and
401:Ariadne (Alya) Efron
389:Tsvetaeva's husband
280:University of Moscow
2376:Russian women poets
2346:Russian LGBTQ poets
2341:Writers from Moscow
2219:Poet of the extreme
2217:"Marina Tsvetaeva,
2135:Larisa Novoseltseva
1739:Feinstein (1993) px
1277:On 8 October 2015,
1243:Larisa Novoseltseva
1187:Dmitri Shostakovich
974:: A Fairy-tale Poem
948:Mileposts: Book One
944:Mileposts: Book One
933:Mileposts: Book One
931:(Versty, 1921) and
889:Maximilian Voloshin
821:Lyudmila Karachkina
695:Salomea Andronikova
665:Vladimir Mayakovsky
566:The Poem of the End
424:Viktoria Schweitzer
363:Maximilian Voloshin
255:and their daughter
2371:Soviet women poets
2115:El sol de la tarde
2062:on 14 August 2018.
1562:Three by Tsvetaeva
1495:Milestones (1922),
1465:Alexander Givental
1167:Cultural influence
1141:Angela Livingstone
1092:
1029:
901:Rainer Maria Rilke
872:Tsvetaeva (1913).
836:Aurora Expeditions
773:were evacuated to
747:
691:Aleksandr Bakhrakh
679:Rainer Maria Rilke
670:Posledniye Novosti
571:Rainer Maria Rilke
546:Charles University
518:
463:Russian Revolution
405:
394:
383:
274:, the daughter of
245:Russian Revolution
2205:Poetry Foundation
2191:. 8 October 2015.
2023:Poetry Foundation
1987:978-0-520-02895-1
1895:978-0-7679-0056-0
1817:978-0-8223-1482-0
1789:on 20 August 2017
1593:Pasternak, Boris
1583:Hope Against Hope
1539:978-80-7308-349-6
1529:978-1-84861-551-9
1516:978-1-84861-549-6
1503:978-1-84861-416-1
1490:978-1-935744-96-2
1482:Christopher Whyte
1473:978-0-9779852-7-2
1210:The Irony of Fate
1197:Sofia Gubaidulina
960:dramatis personae
925:The Magic Lantern
681:, the Czech poet
508:Berlin and Prague
488:("Tsar-Maiden").
427:attended by Tsar
373:Family and career
215:
214:
160:Russian symbolism
156:Literary movement
78:Tsvetaeva in 1925
16:(Redirected from
2383:
2254:Elaine Feinstein
2252:, translated by
2193:
2192:
2185:
2179:
2178:
2176:
2174:
2169:. 10 August 2020
2159:
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2121:Khvanyn'-Kolyvan
2109:Annunciation Day
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2017:(8 March 2009).
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1885:Gulag: A History
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1785:. Archived from
1781:Cooke, Belinda.
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1295:Elaine Feinstein
1223:Deborah Drattell
1137:A Captive Spirit
1105:Elaine Feinstein
1072:
1059:Die Wanderratten
879:
876:Vladimir Nabokov
779:Valentin Parnakh
731:Stikhi k Chekhii
642:
640:Elaine Feinstein
608:I Know the Truth
562:
302:Dmitry Ilovaisky
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2146:Wayback Machine
2132:
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2112:(1995 record);
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1569:Further reading
1544:Youthful Verses
1336:Holy Cow! Press
1287:
1275:
1247:Zlata Razdolina
1235:Lauren Flanigan
1183:
1181:Music and songs
1169:
1125:Other Shepherds
1117:Poem of the End
1101:
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972:The Maiden Tsar
965:The collection
897:Boris Pasternak
893:Osip Mandelstam
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575:Boris Pasternak
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538:The Tsar Maiden
536:, and the poem
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433:Osip Mandelstam
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183: 1912)
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2242:Carcanet Press
2235:
2232:Poetry Library
2214:
2211:Poetry Academy
2208:
2200:
2199:External links
2197:
2195:
2194:
2180:
2154:
2152:and Tsvetaeva.
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2093:Angel and lion
2080:
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2002:Carcanet Press
1998:Brodsky review
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1291:Selected Poems
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1205:Alla Pugacheva
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1157:Jamey Gambrell
1100:
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1055:Heinrich Heine
1043:lyrical satire
1039:The Ratcatcher
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952:Stikhi k Bloku
909:Joseph Brodsky
905:Anna Akhmatova
885:Valery Bryusov
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685:, the critics
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474:Lebedinyi stan
445:The Girlfriend
417:Anna Akhmatova
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351:Alexander Blok
284:Pushkin Museum
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727:World War II
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683:Anna Tesková
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253:Sergei Efron
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172:Sergei Efron
131:Soviet Union
127:Russian SFSR
114:(1941-08-31)
59:
54:
46:
2296:1941 deaths
2286:1892 births
2150:Akhmadulina
1865:"- YouTube"
1375:Black Earth
1231:Anne Bogart
1227:Annie Finch
1099:Translators
1067: [
913:Annie Finch
557: [
449:The Mistake
429:Nicholas II
347:Andrei Bely
291: [
266:Early years
51:family name
2280:Categories
1601:References
1249:and other
1155:published
994:White Army
967:Separation
638:Trans. by
530:Separation
467:White Army
411:resort of
137:Occupation
123:Tatar ASSR
92:1892-10-08
43:patronymic
18:Tsvetayeva
2173:24 August
2133:Songs by
2087:Songs by
1576:Tsvetaeva
1399:, trans.
1360:, trans.
1338:, 1988),
1320:, trans.
1293:, trans.
1255:Mark Abel
1199:wrote an
956:Mileposts
940:Mileposts
929:Mileposts
775:Chistopol
582:Jíloviště
482:civil war
437:Mileposts
409:Black Sea
306:Anastasia
202:Signature
145:Education
55:Tsvetaeva
32:Tsvetayev
2228:magazine
2142:Archived
2118:, 2008,
2028:22 April
1793:21 April
1057:'s poem
1000:Emigrant
990:Psikheya
842:Ortelius
840:MV
767:Yelabuga
718:Lausanne
413:Koktebel
339:Sorbonne
332:Lausanne
191:Children
149:Sorbonne
119:Yelabuga
47:Ivanovna
2213:profile
2207:profile
2053:Zerkalo
1354:(cloth)
1273:Tribute
1174:Zerkalo
1010:Remeslo
982:Remeslo
874:Trans.
660:'White'
590:Remeslo
586:Všenory
319:, near
257:Ariadna
222:Russian
185:
177:
151:, Paris
2139:Candle
2124:, 2007
2104:part 2
2100:part 1
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1088:Leiden
1051:homage
1032:Satire
986:Psyche
903:, and
878:, 1972
828:Gdynia
751:Stalin
542:Prague
526:Berlin
456:Moscow
421:émigré
403:, 1926
325:émigré
272:Moscow
224::
166:Spouse
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41:, the
2226:South
2060:(PDF)
2049:(PDF)
2000:from
1556:Poems
1149:Rilke
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1006:Craft
648:Paris
600:Paris
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503:Exile
321:Genoa
317:Nervi
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2175:2022
2102:and
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1795:2009
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1107:and
853:Work
762:NKVD
702:NKVD
689:and
619:what
349:and
241:O.S.
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109:Died
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