Marina Tsvetaeva, Her Life in Poems - Rolf Gross

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Konstantin Stanislavsky 1863-1938 Evgeny Vakhtangov 1883-1922 Vsevolod Meyerhold, 1874-1940 Marina took to the theater with all her enthusiasm. Between 1918 and 1920 she wrote seven verse dramas - for her newest infatuation, the actor Yuri Zavadsky.... “Oh, he was not a great actor,” she writes, but he was a real adonis of a man. Yuri Zavadsky and Yuliya Soltseva in the science-fiction film “Aelita”, 1924 Avoiding her advances, Zavadsky, who seems to have been mildly gay, was not particularly enamored with her. The “affair” was over in less than a year. She expresses her disappointment with him in a last, unusually angry poem in November 1920 30
Love! Love! Even in convulsions, even in my grave I'll be attentive - charmed - confused - torn. O my dear! Not in a deadly snowdrift, Not in the clouds will we part without forgiving. And not on my pair of beautiful wings Is my heart willing, to carry your weight. Swaddled, eyeless and voiceless I will not multiply the villagers miserable fortune. No, I'll free my hands, and then my strong body With a single sweep of your sheets, Death, in a single blow! - For a thousand miles The snow will melt and the forest of bedrooms burn. And even if – restraining my shoulders, wings, knees, Gritting my teeth – I'll let you take me to the graveyard, I'll be laughing over the ashes, And rise again as a poem or a blossom of roses! November 28, 1920 Zavadsky was followed by a line-up of other “romantic” passions, actors and actresses, poets, writers. They were spurious infatuations, but they appeared reflected in her poems, which embued Marina with the odor of a “ravenous, bi-sexual adulteress”. Occasionally she is still being censured for her amorous affairs by the philistines among her detractors. She was lonely and 27, at the peak of her female powers.- Besides, writing poetry is a complex and mysterious process. It requires a high-power engine – and few emotions are as potent as a volatile libido. Whether the poet has an actual physical, erotic experience is almost irrelevant. But her working among the inspired crowd of young actors and playwrights at Vakhtangov's studio - moreover working on entirely unreal plays - kept her worries about Seryozha, about finding food for her children, her concern for sickly Irina, and above all her own loneliness at bay. In a letter in July 1918 to Liliya Efron, Seyozha's older sister, Marina begged her to take the children, especially Irina, she could no longer afford bread and milk for them. “We must make Irina eat potatoes, I cannot find cereal for her.” Nothing came of this arrangement, Liliya was morally at odds with her. As the winter of 1918-1919 approached, and the food shortage became a famine, Marina and the children retreated into her small room to share a primitive wood stove. Armed with an axe she would descend into the basement and “deconstruct” (her words) all kinds of wooden partitions for firewood. In the mornings the temperature in their room was often 5 deg C (39 F). - Prince Sergey Volkonsky, the former director of the 31
Page 1 and 2: Marina Tsvetaeva A Life in Poems No
Page 3 and 4: poetic power like distress and - lo
Page 5 and 6: Childhood Moscow 8 Tryokhprudny Per
Page 7 and 8: children. In “Mother and Music”
Page 9 and 10: seventeen Marina began to smoke, a
Page 11 and 12: Koktebel Maximilian Voloshin's Have
Page 13 and 14: The motley crowd of greater and les
Page 15 and 16: did not concern her. My poems, writ
Page 17 and 18: Sofia Parnok Koktebel and Moscow 19
Page 19 and 20: She writes and a few days later des
Page 21 and 22: And I'll tell you: - All the same -
Page 23 and 24: orderly. Eventually he was drafted
Page 25 and 26: In December 1915 Marina was invited
Page 27 and 28: To Osip Mandelstam A strange anxiet
Page 29: Marina escaped on flights to the ot
Page 33 and 34: - Alya had these frequent attacks.
Page 35 and 36: ... Dead - and risen! Just enough f
Page 37 and 38: Berlin - Prague Ilya Ehrenburg Serg
Page 39 and 40: her and writes that “he had been
Page 41 and 42: etween her insatiable need for free
Page 43 and 44: Moscow. I don't want to write about
Page 45 and 46: Swan-like... - But what happened Li
Page 47 and 48: toe of the heart, not yet touched b
Page 49 and 50: France 1925 - 1939 The Summer of 19
Page 51 and 52: German and Russian! In a postscript
Page 53 and 54: thus alien after all!) One more thi
Page 55 and 56: affirmation around a spring. Around
Page 57 and 58: horseman. Your penciled notation (i
Page 59 and 60: Boulevard de Crancy, 3 (not far fro
Page 61 and 62: in 1924 and 1925), hence my long so
Page 63 and 64: You are alive, I want to see you. A
Page 65 and 66: trug uns ein blinder Befehl durch d
Page 67 and 68: to feign halves. We, confined to ci
Page 69 and 70: German is deeper than French, fulle
Page 71 and 72: eflection when it appears in the wa
Page 73 and 74: asleep, fast asleep. I sound quite
Page 75 and 76: winter!... "You don't need to answe
Page 77 and 78: This letter became the last in thei
Page 79 and 80: France 1925 - 1939 The Lure of the
Page 81 and 82:
Mur and Marina, 1936 Photo dommuseu
Page 83 and 84:
In your family album! Children! You
Page 85 and 86:
People are all the same to me, And
Page 87 and 88:
go. But there was, of course, no ch
Page 89 and 90:
Marina Tsvetaeva, Golitsyno 1939 No
Page 91 and 92:
The idea of suicide is disturbing t
Page 93 and 94:
Marina Tsetaeva (1892 - 1941) Chron
Page 95 and 96:
August 1, move to Prague, where the
Page 97 and 98:
August 17, Marina and Mur evacuated
Page 99 and 100:
Marina Zwtajewa, “Mutter und die
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Marina Tsvetaeva, Her Life in Poems - Rolf Gross

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