Marina Tsvetaeva

Marina Tsvetaeva is acknowledged today as one of the twentieth century's greatest poets, a masterful innovator who produced a remarkable body of work before her untimely death in 1941. This bilingual collection contains six of her acclaimed narrative poems, most translated into English for the first time. Tsvetaeva always regarded the narrative poem as her true challenge, and she created powerful and intensely original works in this genre. They can be seen as markers of various stages in her poetic development, ranging from the early, folk-accented 'On a Red Steed' to the lyrical-confessional 'Poem of the Mountain' and 'Poem of the End' to the more metaphysical later poems, 'An Attempt at a Room,' a beautiful requiem for Rainer Maria Rilke, 'New Year's Greetings,' and 'Poem of the Air,' a stirring celebration of Lindbergh's transatlantic flight and the quest for the soul's freedom. "There has been no more passionate voice in twentieth-century Russian literature." -Joseph Brodsky

"Vse delo v tom, chtoby my ljubili, chtoby u nas bilos serdtse -khotja by razbivalos vdrebezgi! Ja vsegda razbivalas vdrebezgi, i vse moi stikhi -te samye serebrjanye serdechnye drebezgi" -slova odnogo iz samykh jarkikh i talantlivykh poetov XX veka Mariny Tsvetaevoj. Trogatelnye i derzkie, krichaschie i chut slyshnye v zvenjaschej tishine stikhi Tsvetaevoj napisany ne razumom, a dushoj i serdtsem. Ee bessmertnye strofy polny vnutrennej svobody, liricheskoj sily i nepoddelnoj iskrennosti. "Krupnee Tsvetaevoj v nashem stoletii net poeta", -skazal Iosif Brodskij. Ee tvorchestvo znajut i ljubjat milliony ljudej, i ne tolko v Rossii, no i po vsemu miru. Otkrojte knigu, okunites v volshebnyj mir poezii Mariny Tsvetaevoj i nasladites nepovtorimoj ljubovnoj lirikoj.

"Vse delo v tom, chtoby my ljubili, chtoby u nas bilos serdtse -khotja by razbivalos vdrebezgi! Ja vsegda razbivalas vdrebezgi, i vse moi stikhi -te samye serebrjanye serdechnye drebezgi" -slova odnogo iz samykh jarkikh i talantlivykh poetov XX veka Mariny Tsvetaevoj. Trogatelnye i derzkie, krichaschie i chut slyshnye v zvenjaschej tishine stikhi Tsvetaevoj napisany ne razumom, a dushoj i serdtsem. Ee bessmertnye strofy polny vnutrennej svobody, liricheskoj sily i nepoddelnoj iskrennosti. "Krupnee Tsvetaevoj v nashem stoletii net poeta", -skazal Iosif Brodskij. Ee tvorchestvo znajut i ljubjat milliony ljudej, i ne tolko v Rossii, no i po vsemu miru. Otkrojte knigu, okunites v volshebnyj mir poezii Mariny Tsvetaevoj i nasladites nepovtorimoj ljubovnoj lirikoj.

Sbornik vkljuchaet naibolee izvestnye i znachimye poemy Mariny Tsvetaevoj, v chisle kotorykh velichajshie shedevry russkoj ljubovnoj poezii. V tsvetaevskikh poemakh nashla otrazhenie tragicheskaja vertikal ee khudozhestvennogo mira, gde protivopostavleny byt i bytie, "zdes" i "tam", "suetnoe" i "vechnoe", i voplotilsja neizbyvnyj konflikt poeta s realijami zhizni, v kotoroj trudno najti "put dushi k dushe". S bezogljadnoj schedrostju Tsvetaeva raspakhivaet serdtse tem, kto ispytyvaet v nej "smertnuju nadobu". Adresatami ee poem v raznye gody byli Konstantin Rodzevich (emu posvjascheny "Poema Gory" i "Poema Kontsa"), Boris Pasternak, "brat v pjatom vremeni goda, shestom chuvstve i chetvertom izmerenii" ("S morja", "Popytka komnaty"), nemetskij poet Rajner Marija Rilke (poema "Novogodnee"). V izdanie takzhe voshli podrobnye primechanija Ju. V. Malkovoj.

V odnom tome sobrany vse poeticheskie i prozaicheskie proizvedenija zamechatelnogo russkogo poeta Mariny Ivanovny Tsvetaevoj. Redaktor: Basova E. G.

The poems in Youthful Verses cover the years between 1913 and 1915, a period of unparalleled freedom in Marina Tsvetaeva's life. Recently married and with a baby daughter, she chronicles in a sequence of astonishing honesty and frankness her love for a slightly older woman poet. Despite a disturbing undercurrent of self-denigration, these poems are characterised throughout by deft humour, a pervasive sense of mischief, and a high degree of formal perfection.

V knigu voshlo osnovnoe sobranie liricheskikh stikhotvorenij Mariny Tsvetaevoj, a takzhe poemy, napisannye v raznye gody zhizni, v chisle kotorykh shedevry russkoj ljubovnoj poezii: "Poema Gory" i "Poema Kontsa". "Narjadu s Annoj Akhmatovoj, Marina Tsvetaeva zanimaet... pervenstvujuschee mesto sredi russkikh poetess", - pisal v 1921 godu K. Balmont. "Krupnee Tsvetaevoj v nashem stoletii net poeta", - spustja polveka otzyvalsja o nej Iosif Brodskij. Odnako v pylu literaturnykh i politicheskikh batalij unikalnost i masshtab ee poeticheskogo dara ne vsegda mogli otsenit sovremenniki - kak v sovetskoj Moskve, tak i v "russkom" Parizhe. Tem ne menee, naperekor neponimaniju i odinochestvu, odna "za vsekh" i odna "protivu vsekh", Tsvetaeva poistine stala "vozhdem svoej sudby" (kak pisala o nej Bella Akhmadulina) i zanjala odno iz glavnykh mest v rjadu velikikh poetov XX veka.

This book, "Hygiene des Sports. Unter Mitwirkung von Bickel et al Mit einem Vorwort von F. Kraus. 1", by Siegfried Weissbein, is a replication. It has been restored by human beings, page by page, so that you may enjoy it in a form as close to the original as possible. This book was created using print-on-demand technology. Thank you for supporting classic literature.

Osoboe mesto v istorii russkoj poezii 20 veka zanimaet tvorchestvo Mariny Tsvetaevoj. V ee stikhakh - nepremenno nadryv, zhguchee beskompromissnoe chuvstvo. V sbornik voshli izbrannye proizvedenija poeta raznykh let.

Marina Ivanovna Tsvetaeva - odna iz samykh jarkikh i dramaticheskikh figur dvadtsatogo stoletija. Velikaja poetessa Serebrjanogo veka, ona ne prinadlezhala ni k odnomu literaturnomu napravleniju togo vremeni i ni na kogo ne byla pokhozha. Ee samobytnyj novatorskij stikh cherpal vdokhnovenie i iz russkoj narodnoj poezii, i iz vsej mirovoj kultury. Tsvetaeva byla neordinarnoj lichnostju - chelovekom besstrashnoj iskrennosti, maksimalistom, "dushoj, ne znajuschej mery", ee poeziju otlichajut vysokij romantizm, sochetajuschijsja s glubokoj tragicheskoj notoj, i neverojatnaja krasota slova. Stikhotvorenija, sobrannye v dannom izdanii, davno i po pravu voshli v sokrovischnitsu russkoj poezii

? This collection is valuable for its steady faithfulness to the original, its breadth of poems, and in particular for so many of the pre-revolutionary poems.? Emily Lygo, Modern Poetry in Translation 2009

Boris Pasternak is both the presiding spirit and the addressee of specific poems in After Russia, Marina Tsvetaeva's last collection, published in Paris 13 years before she died. The two poets engaged in an impassioned correspondence which offers crucial insights into the background and meaning of certain items. If a group of remarkably tender poems concerns the emigre critic Alexander Bakhrakh, remarkably little space is devoted to Tsvetaeva's cataclysmic affair with her husband's friend Konstantin Rozdevich during the last months of 1923. Towards the end, references to Russia and Russian culture-so studiously avoided earlier-flood back, making the final obeisance to a Russian peasant woman and to Pasternak in Moscow a fitting close.

A moving collection of autobiographical essays from a Russian poet and refugee of the Bolshevik Revolution. Marina Tsvetaeva ranks with Anna Akhmatova, Osip Mandelstam, and Boris Pasternak as one of Russia's greatest twentieth-century poets. Her suicide at the age of forty-eight was the tragic culmination of a life buffeted by political upheaval. The essays collected in this volume are based on diaries she kept during the turbulent years of the Revolution and Civil War. In them she records conversations of women in the markets, soldiers and peasants on the train traveling from the Crimea to Moscow in October 1917, fighting in the streets of Moscow, a frantic scramble with co-workers to dig frozen potatoes out of a cellar, and poetry readings organized by a newly minted Soviet bohemia. Alone in Moscow with two small children, no income, and a missing husband, Tsvetaeva struggled to feed her daughters (one of whom died of malnutrition in an orphanage), find employment in the Soviet bureaucracy, and keep writing poetry. Her keen and ruthless eye observes with compassion and humor--bringing the social, economic, and cultural chaos of the period to life. These autobiographical writings not only give a vivid eyewitness account of Russian history but provide vital insights into the workings of Tsvetaeva's unique poetics. Includes black and white photographs.