Marina Tsvetaeva
Марина Цветаева
Marina Ivanovna Tsvetaeva was born in Moscow. Her father, Ivan Tsvetaev, was a professor of art history and the founder of the Museum of Fine Arts. Her mother Mariya, née Meyn, was a talented concert pianist. The family travelled a great deal and Tsvetaeva attended schools in Switzerland, Germany, and at the Sorbonne, Paris. Tsvetaeva started to write verse in her early childhood. She made her debut as a poet at the age of 18 with the collection Evening Album, a tribute to her childhood.
In 1912 Tsvetaeva married Sergei Efron, they had two daughters and one son. Magic Lantern showed her technical mastery and was followed in 1913 by a selection of poems from her first collections. Tsvetaeva's affair with the poet and opera librettist Sofiia Parnok inspired her cycle of poems called Girlfriend. Parnok's career stopped in the late 1920s when she was no longer allowed to publish. The poems composed between 1917 and 1921 appeared in 1957 under the title The Demesne of the Swans. Inspired by her relationship with Konstantin Rodzevich, an ex-Red Army officer she wrote Poem of the Mountain and Poem of the End.
After 1917 Revolution Tsvetaeva was trapped in Moscow for five years. During the famine one of her own daughters died of starvation. Tsvetaeva's poetry reveals her growing interest in folk song and the techniques of the major symbolist and poets, such as Aleksander Blok and Anna Akhmatova. In 1922 Tsvetaeva emigrated with her family to Berlin, where she rejoined her husband, and then to Prague. This was a highly productive period in her life - she published five collections of verse and a number of narrative poems, plays, and essays.
During her years in Paris Tsvetaeva wrote two parts of the planned dramatic trilogy. The last collection published during her lifetime, After Russia, appeared in 1928. Its print, 100 numbered copies, were sold by special subscription. In Paris the family lived in poverty, the income came almost entirely from Tsvetaeva's writings. When her husband started to work for the Soviet security service, the Russian community of Paris turned against Tsvetaeva. Her limited publishing ways for poetry were blocked and she turned to prose. In 1937 appeared MOY PUSHKIN, one of Tsvetaeva's best prose works. To earn extra income, she also produced short stories, memoirs and critical articles.
In exile Tsvetaeva felt more and more isolated. Friendless and almost destitute she returned to the Soviet Union in 1938, where her son and husband already lived. Next year her husband was executed and her daughter was sent to a labor camp. Tsvetaeva was officially ostracized and unable to publish. After the USSR was invaded by German Army in 1941, Tsvetaeva was evacuated to the small provincial town of Elabuga with her son. In despair, she hanged herself ten days later on August 31, 1941.
source: http://www.poemhunter.com/marina-ivan...
“Your name is a -- bird in my handa piece of -- ice on the tongueone single movement of the lips.Your name is: five signs,a ball caught in flight, asilver bell in the moutha stone, cast in a quiet poolmakes the splash of your name, andthe sound is in the clatter ofnight hooves, loud as a thunderclapor it speaks straight into my forehead,shrill as the click of a cocked gun.Your name -- how impossible, itis a kiss in the eyes onmotionless eyelashes, chill and sweet.Your name is a kiss of snowa gulp of icy spring water, blueas a dove. About your name is: sleep.”
“One should write only those books from whose absence one suffers. In short: the ones you want on your own desk.”
“How quiet the writing, how noisy the printing.”
“Meanings are translatable. Words are untranslatable… More briefly – a word is translatable, its sound is not.”
“Wings are freedom only when they are wide open in flight. On one's back they are a heavy weight.”
“After a sleepless night the body gets weaker,It becomes dear and not yours - and nobody's.Just like a seraph you smile to peopleAnd arrows moan in the slow arteries.After a sleepless night the arms get weakerAnd deeply equal to you are the friend and foe.Smells like Florence in the frost, and in eachSudden sound is the whole rainbow.Tenderly light the lips, and the shadow's goldenNear the sunken eyes. Here the night has sparkedThis brilliant likeness - and from the dark nightOnly just one thing - the eyes - are growing dark.”
“Tonight - I am alone in the night,a homeless and sleepless nun!Tonight I hold all the keys to thisthe only capital cityand lack of sleep guides me on my path.You are so lovely, my dusky Kremlin!Tonight I put my lips to the breastof the whole round and warring earth.Now I feel hair - like fur - standing on end:the stifling winds blow straight into my soul.Tonight I feel compassion for everyone,those who are pitied, along with those who are kissed.”
“Who sleeps at night? No one is sleeping. In the cradle a child is screaming. An old man sits over his death, and anyone young enough talks to his love, breathes into her lips, looks into her eyes.”
“The forbidden cabinet. The forbidden fruit. That fruit is—a volume, a huge blue-lilac volume with a gold inscription slantwise: Collected Works of A.S. Pushkin. I read the fat Pushkin in the cabinet with my nose in the book and on the shelf, almost in darkness and almost right up against it and even a little bit suffocated by his weight that came right into the throat, and almost blinded by the nearness of the tiny letters. I read Pushkin right into the chest and right into the brain.”
“For the spell is older than experience. For the tale is older than the record.”
“I have two foes in the world, twins inextricably interrelated -- the hunger of the hungry and the glut of the glutted!”
“for the path of comets/ is the path of poets: they burn without warming,/ pick without cultivating. They are: an explosion, a breaking in”
“Old men, old men, old men. Medals, medals, medals. Not a brow without a furrow, not a breast without a star. My brother and husband are uniquely-young here. The grouping of young Grand Dukes doesn't count because a grouping is just what they are: a marble bas-relief. Today the whole old-age of Russia seems to have flowed into this place in homage to the eternal youth of Greece. A living lesson of history and philosophy: this is what time does with people, this is what it does--with gods. This is what time does with a man, this is what (a glance at the statues) art does. And, the last lesson: this is what time does with a man; this is what a man does with time. But because of my youth I don't think about that, I feel only a cold shudder. ("The Opening of the Museum")”
“No one has ever stepped twice into the same river. But did anyone ever step twice into the same book?”
“What shall I do, singer and first-born, in a world where the deepest black is grey, and inspiration is kept in a thermos? with all this immensity in a measured world? ”
“However much you feed a wolf, it always looks to the forest. We are all wolves of the dense forest of Eternity.”
“And soon all of us will sleep under the earth, we who never let each other sleep above it.”
“Don't you know no one can escapethe power of creatures reaching outwith breath alone?”
“There are books so alive that you're always afraid that while you weren't reading, the book has gone and changed, has shifted like a river; while you went on living, it went on living too, and like a river moved on and moved away. No one has stepped twice into the same river. But did anyone ever step twice into the same book?”
“What is this gypsy passion for separation, thisreadiness to rush off when we've just met?My head rests in my hands as Irealize, looking into the nightthat no one turning over our letters hasyet understood how completely andhow deeply faithless we are, which isto say: how true we are to ourselves.”
“I opened my veins. Unstoppablylife spurts out with no remedy.Now I set out bowls and plates.Every bowl will be shallow.Every plate will be small.And overflowing their rims,into the black earth, to nourishthe rushes unstoppablywithout cure, gushespoetry ...”