The writing: Tsvetaeva. M.I. - Miscellaneous - "" Moscow! What a huge hospitable house! "

"" Moscow! What a huge hospitable house! "

"MOSCOW! WHAT A HUGE STRANGE HOUSE! "

In this wondrous city, In this peaceful city, Where it will be joyful for me to be dead ... M. Tsvetaeva Born and spent her childhood in Moscow and the quiet Tarusa near Moscow, Marina Ivanovna Tsvetaeva retained her gratitude and warmth to her native places for life. No matter how hard and bitter it was in some years of her life, she fondly recalled the comfortable professorial apartment, the stormy passages of her mother on the piano, the serene and happy childhood, and her hometown came to her mind. Clouds around, Domes around. Above all of Moscow - How many hands are enough! - I lift you up, the best burden, My Weightless Tree! Wherever Tsvetaeva lived later, she could not forget Russia, her hometown, which became a guiding star for her, to which in the end she hoped to return. From my hands - a hail not made by hands Accept, my strange, my beautiful brother. In the church - all forty forties And doves flying over them ... You had to have courage and great will, so that, finding yourself in emigration, abandoned and forgotten, keep in your soul a warm feeling for the homeland, not get embittered, not curse everyone. Tsvetaeva had the strength to remain herself, not to endure the grievances unjustly inflicted by people on her hometown, which seemed to reject her. Marina Ivanovna understood that “little people make her fate,” and love for Russia and Moscow is eternal, it will survive decades when justice will prevail. The day will come - sad, they say! - They will reign, they will repay, they will burn away, - Chilled by other people's nickels, - My eyes, mobile like a flame. And - a double who groped for a double - Through a light face will appear - a face. Oh, at last I will be honored with you, Beautiful belt of grace! Bitterness emanates from these lines, which turned out to be prophetic. A poet can often foresee events and his own destiny. And no matter how decisive and courageous Marina Ivanovna was, the hardships of life, separation from her homeland set her in a sad mood. She aspired to Russia with all her soul, never considered herself an emigrant (left Russia for her husband - a white officer), did not write blasphemy about the Soviet country, was engaged in creativity, was with her homeland with all her soul. And the poems about Russia and Moscow supported the spirit of the author, forced him to maintain the line that Marina Ivanovna had initially chosen: no anger against the country that raised her. Tsvetaeva did not accept the revolution. All sorts of changes and bloody feuds were alien to her. But the years passed, and she gazed more intently into the distant and desired homeland, rejoiced at its successes. No beauty of the world could replace Marina Ivanovna Russia, she was and remains a true patriot. To the Eiffel - by hand Submit! Serve and climb. But each of us is such Ripe, I see, I say, and this day, That boring and ugly Your Paris seems to us. "My Russia, Russia, Why are you burning so brightly?"

One of the features of Marina Tsvetaeva's lyric intonation was defined by Joseph Brodsky as “the aspiration of the voice in the only direction possible for it: upward”. Thus, the poet conveyed his feeling from what he himself called "a kind of a priori tragic note, hidden - in verse - sobbing." Brodsky saw the reason for this phenomenon in Tsvetaeva's work with language, her experiments with folklore. Indeed, many of Tsvetaeva's poems can be perceived as folk stylizations. At the same time, the question inevitably arises - what does Tsvetaeva bring into the language of folk poetry of her own, in what ways her texts are similar to songs performed by the people, and in what ways they are not similar, and why. For now, we will keep this question in mind and talk only about some features of Tsvetaeva's poetics, which bring her poetry closer to the genres of oral folk art (mainly lyrical). Separately, we will say that we will focus mainly on the poems of the second half of the 1910s (collections "Versts I", "Poems about Moscow", "Poems to Blok", "Poems to Akhmatova" and some others).

In many of Tsvetaeva's poems, the language formulas characteristic of folklore genres attract attention. Her lyrical heroine often uses vernacular and dialectical speech in her speech:

It's not the wind
Drives me around town
Oh, the third one
I can smell the evening in the horns.

("Gentle ghost ...")

In addition to the syntactic construction typical of folk songs with negation and the word “that” (recall the beginning of the famous song “Oh, it’s not evening ...”) and the colloquial lamenting “oh, already” that creates an intonation of lamentations, Tsvetaeva also uses a rare form of the word in this stanza “Enemy” - “in? Horn”, which in Ushakov's dictionary is labeled “obl., Nar.-poet.”. Thus, an ordinary, widespread word acquires an unusual sound, alien to our ears.

To folklore in Tsvetaeva's poems, she also refers to the abundance of traditional-poetic vocabulary, including numerous epithets (cf. "with a keen eye - a youth", "deep eyes", "a golden-eyed bird", "amiable - I will lead - speeches", "steep shore" , “Gray waters”, “wondrous city”, “crimson clouds”, etc.).

Even in the descriptions of everyday, everyday situations, Tsvetaeva includes language formulas characteristic of folklore genres. So, in the poem "Gathering loved ones on the road ...", which deals with ordinary wires on the road, the lyric heroine conjures the elements of nature so that they do not harm her loved ones. It must be said that appeals to external forces, on which a lot depended in a person's life, is completely natural for folk culture. On their basis, a special genre of conspiracy was formed, which involved pronouncing the necessary words in a strictly defined order. Tsvetaeva, in her plot, uses a form of address typical of this genre - phenomena of inanimate nature appear for her as living beings that can be influenced:

You tirelessly, wind, sing
You, dear, do not be hard on them!

Gray cloud, do not shed tears, -
As for a holiday they are shod!
Pinch your sting, snake
Throw, robber, your fierce knife ...

Let's pay attention to the fact that the epithets in these lines are after the word being defined (“gray cloud”, “your fierce knife”). A similar type of linguistic inversion is found in many poems by Tsvetaeva (“gray day”, “bright peace”, “dark night”, “about a young swan”, “Silver pigeons soar, bewildered, evening ...”, etc.), it is peculiar and the genre of folk songs - as V.N. Barakov, “the post-positive (after defined words) use of epithets is characteristic of the Russian song” (cf. “As I go, young, / As I go, merry ...”, “They take off a colored dress from the girl, / Put a black dress on the girl”, "Volga-mother dear flows, / A dear friend, a killer whale carries").

V. Kandinsky. Composition VIII. Fragment

The world of objects into which Tsvetaeva immerses her reader is also connected with traditional culture - it seems to have “migrated” into her poetry from folk tales, legends and other folklore genres. Here and silver, pearls, rings, divination, canopy, porch; here are wanderers, pilgrims, nuns, holy fools, healers, etc.

Tsvetaeva also has many references to animals and birds that are often found in folk poetry. Moreover, as in folklore, the poet speaks about animals, and means people. In this one can see, on the one hand, the traditional folklore image of the miraculous wrapping of a person with an animal or bird, and on the other, a poetic device, a hidden comparison. As in folk art, Tsvetaeva most often encounters images of a dove, a swan, an eagle: “I baptize you on a terrible flight: / Fly, young eagle!”, “My fosterling! Lebedenok! / Is it good for you to fly? ”,“ My mother's blessing / Above you, my plaintive / Voronenok ”,“ Snow swan / Lay feathers on my feet ”, etc. (Wed in folk songs: “You are my little gray, my little white dove, / Why do you fly from the warmth of the nest early, / To whom are you leaving me, my dear?”, “I will tell my dear about my misfortune: / - You are a falcon my clear, fine fellow, / Where are you going, are you leaving me? .. ”.)

Various masks are put on not only by Tsvetaeva's characters, but also by the lyrical heroine herself. She tries on the role of a "humble wanderer":

And I think: someday I will<…>
I will put a silver cross on my chest,
Cross myself and quietly set off
Along the old road along the Kaluga road.

("Over the blue groves near Moscow ...")

Turns into a magician:

I go out onto the porch - I listen
I tell fortunes on lead - I cry.

("I go out onto the porch - I listen ...")

Calls herself a "warlock":

So that it does not come out like me - a predator,
Warlock.

("Eve of the Annunciation ...")

She takes the form of a Moscow boyaryn:

And nothing is needed from now on
The newly reposed bolyaryna Marina.

(“The day will come - sad, they say!”)

Including because of this endless game of dressing up M.L. Gasparov defined the mature poetry of Tsvetaeva as “role” or “play” lyrics. It must be said that in this peculiarity of Tsvetaeva's poetics one can see a relationship with folk culture, with its centuries-old carnival tradition. According to M.M. Bakhtin, “one of the obligatory moments of folk festive fun was dressing up, that is, renewal of clothes and one's social image”. In all these cases, we can talk not just about comparison - Tsvetaeva's characters get used to different images, while the line between a person and his role is extremely unstable.

Tsvetaeva uses another type of comparison, in which the object being determined is as close as possible to the object with which it is compared - we are talking about a comparison expressed by a noun in the instrumental case:

A cat crept out on the porch,
She exposed her face to the wind ...

If particles "How", "if", "like" indicate the separation of the compared objects in the comparative turn, then this distance leaves the comparison in the form of the instrumental case. In the genres of oral folk art, when comparing in the form of the instrumental case, as a rule, a person acts as an object of comparison, who is compared with an animal or plant, that is, with the phenomenon of the natural world around a person:

And I walk in the street - like a gray duck,
Through black mud - a quail,
I will go under the collar - like a white swallow,
I will go into a wide courtyard - with an ermine,
I'll fly to the porch - like a clear falcon,
I will ascend into a tall tower - a good fellow.

This form of comparison presupposes the non-division of the human world and the natural world; this is not just a grammatical device - it reflects the traditional for folk culture idea of \u200b\u200bthe unity of these two worlds, according to which what happens in people's lives is similar to what happens in the natural world.

These views laid the foundation for such a compositional feature of many folklore works, which A.N. Veselovsky called parallelism, and its most widespread type is two-term parallelism. Its general formula is as follows: “a picture of nature, next to it is the same from human life; they echo each other with a difference in objective content, there are consonances between them, clarifying what they have in common ”. For example:

A twig broke off
From the garden from the apple tree,
The bull's-eye rolled back;
The son is leaving the mother
To someone else's far side.

Not a white birch bends down,
Not a staggering aspen made a noise,
A good fellow is killed by a ruckus.

Marina Tsvetaeva is already consciously using this technique. To be convinced of this, let's read one of the poems of the first edition of "Versts":

I planted an apple tree:
Little funny
The old are young
Joy to the gardener.

Lured into the room
White turtle dove:
The thief is annoyed
Delight for the mistress.

Has given birth to a daughter -
The blue are very
Gorlinka - in a voice
The sun is a hair.
Woe to the girls
On the mountain to the good fellows.

This poem has three stanzas. The first two stanzas describe the actions of the unnamed heroine of the poem, aimed at the phenomena of the natural world around her (“I planted an apple tree ...”; “Lured into the upper room / White dove ...”), and also tells about the result of these actions for third parties (“ Small - fun, / Old - youth, / Gardener - joy ";" Thief - annoyance, / Mistress - delight "). However, it is clear to the reader that the main and most important action is described in the third stanza (it is also the largest). Note in parentheses that in folklore texts there is always “the preponderance on the side of that<мотива>that is filled with human content ”.

The third stanza describes an action directed at a person, in this case a daughter. This stanza is also built on the model of the previous ones: first, it talks about the action itself (“She gave birth to a daughter - / Very blue ones”), and then about how this action will affect others (“Woe to the girls, / Woe to the good fellows”). It is interesting that the phenomena of the natural world do not leave the third stanza either: “daughter” is compared with a turtle-dove and the sun (“Gorlinka - with a voice, / Sun - with a hair”).

Finally, the main thing that brings many poems of M. Tsvetaeva closer to the works of oral folk art is numerous repetitions, in connection with which M.L. Gasparov wrote about the “refrain” of her poetry. It is no accident that composers were so eager to shift Tsvetaeva's poems to music.

According to S.G. Lazutin, “… the principle of repetition is the most important in the composition of a traditional folk lyric song. This principle is completely and completely consistent with the peculiarities of its syntax and melodic structure. The compositional principle of repetition is most clearly manifested in round dance songs, where it is supported by the repetition of certain actions, round dance movements. " As an example, Lazutin cites the song “The street is narrow, the round dance is big,” it begins with the following stanza:

The street is narrow, the round dance is large,
Move apart when I, Mlada, played out!
I amused my dear father,
She angered her fierce father-in-law.

Then this stanza is repeated four more times, and in the place of the father and father-in-law from the first stanza there are “dear mother” and “fierce mother-in-law”, “dear brother” and “fierce brother-in-law”, “dear sister” and “fierce sister-in-law” and, finally , “Dear friend” and “hateful husband”.

However, the repetition of linguistic formulas and situations is typical for other genres of folklore, for example, for lyric songs. Here are just a few examples:

... The neighbor will have my dear, good,
My dear, handsome, white, curly,
White, curly, single, not married ...

... As they said about the dear,
As if lifeless, unwell,
As if lifeless, unwell,
As if missing.
And how is my dear now
I walked along the street
I walked along the street ...

For Tsvetaeva, this kind of repetition becomes almost the main compositional technique in many poems. And there can be a lot of examples here, we will give only a few:

Do not love, rich, - poor,
Do not love, scientist, - stupid,
Do not love, ruddy, - pale,
Do not love, good, - harmful:
Gold - a copper half!

("Do not love, rich, - poor ...")

Young men are hot
The boys are glowing
The young men shave their beards.

("Young men - it's hot ...")

Familiar to the steppes - eyes,
Accustomed to tears - eyes
Green - salty -
Peasant eyes!

("Eyes")

All subsequent stanzas of the poem "Eyes" end with the same word, which is included in the title - thus gradually reveals the content of the main image for the poem. At the same time, as in the song refrain, Tsvetaeva offers the reader different options: her eyes are either "green" or "peasant". In the third stanza, there is no definition at all - it ends with the phrase “eyes downcast”.

Repetition of the same groups of words in similar metric conditions is one of the fundamental features of oral folk art. These repetitions ensure the stability of folklore genres, thanks to which the text remains itself, regardless of who is currently performing it. Different storytellers can change the order of the narration (rearrange the lines, etc.), make additions or refinements. Moreover, these changes are inevitable, therefore one of the most important qualities of folklore is its variability. However, as B.N. Putilov, “the category of variability is associated with the category of stability: something with stable characteristics can vary; variation is unthinkable without stability. " As mentioned above, this stability is created, among other things, due to the formularity of the poetic language.

Meanwhile, Tsvetaeva's repetitions perform a completely different function than in the texts of folk poetry. They create the impression of the instability of the poetic word, its variability, a constant, incessant search for the right word to express this or that image. According to M.L. Gasparov, “... in Tsvetaeva ... the central image or thought of the poem is the repeating formula of the refrain, the stanzas preceding the refrains bring it to it from a new angle each time and thus comprehend and deepen it more and more. It turns out treading on one place, thanks to which the thought goes not forward, but inward, - the same as in later verses with stringing words that clarify the image ”. At the same time, the meaning of the central concept can be clarified:

Sleep, calm down,
Sleep honored
Sleep crowned
Woman.

("She looked round my eyes ...")

To my hand, which I will not withdraw
To my hand, from which the ban is lifted,
To my hand, which no longer exists ...

(“The day will come - sad, they say ...”)

Or the idea of \u200b\u200bthe central concept deepens due to the refinement of its sound:

But my river - yes with your river,
But my hand - yes with your hand
They will not converge, my joy, until
Do not overtake the dawn - dawn.

(“In Moscow - the domes are burning ...”)

Brodsky writes about the same feature of Tsvetaeva's poetics, which implies a constant search for the necessary, more accurate word. Analyzing the dedicated by R.M. Rilke's poem "New Year", Brodsky especially highlights the following lines:

The first letter to you on the new one
- A misunderstanding that the vile one -
(Zlachny - ruminant) place loud, sonorous place,
Like Aeolian tower empty.

Brodsky calls this passage "a remarkable illustration, characteristic of Tsvetaev's creativity of the diversity of thinking and the desire to take everything into account." According to him, Tsvetaeva is a poet who “does not allow himself or the reader to take anything for granted”. She "has nothing poetically a priori, nothing questioned ... Tsvetaeva all the time, as it were, struggles with the inherent authority of poetic speech."

Thus, we see that Tsvetaeva's adherence to the tradition of folk poetry in this case turns out to be purely formal. The appearance of repetitions is due to the peculiarities of her poetic thinking, meets her own creative tasks, and is not at all just a consequence of external copying. It must be said that the stylization of other methods of folk poetry does not interfere with the manifestation of a bright author's individuality in Tsvetaeva's poetry, which is, in principle, impossible in folklore. We will never confuse her poems with works of oral folk art. Tsvetaeva skillfully combines the rhythmic, thematic, lexical and other distinctive features of folk poetry with what distinguishes her poetic language (numerous caesura, hyphenation, etc.). And the themes of Tsvetaeva's poetry stylized as folk verses are not at all typical for folklore, their appearance is due to the interests of Tsvetaeva herself, her deeply personal attitude to her own and other people's creativity, to the world around her, etc.

LITERATURE

1. Barakov V.N. Fatherland and will. A book about the poetry of Nikolai Rubtsov. Vologda: “Book Heritage”, 2005.

2. Bakhtin M.M. Francois Rabelais' creativity and folk culture of the Middle Ages and Renaissance. M .: Fiction, 1990.S. 94.

3. Brodsky I... “About one poem”. // Works of Joseph Brodsky in 4 vols. St. Petersburg: Publishing house "Pushkin Fund", 1995. T. 4. P. 88; 89; 90.

4. Veselovsky A.N. Psychological parallelism and its forms in the reflections of the poetic style. // Veselovsky A.N. Historical poetics. M .: Higher school, 1989.S. 107; 113.

5. Gasparov M.L. Marina Tsvetaeva: from the poetics of everyday life to the poetics of the word. // About Russian poetry: Analyzes: Interpretations. Specifications. SPb., 2001. S. 136-149.

6. Lazutin S.G. Poetics of Russian folklore. M .: Higher school, 1981.

7. Putilov B.N... Folklore and folk culture. SPb .: Nauka, 1994.

8. Russian folklore / Comp. and note. V. Anikina. M .: Art. lit., 1986, p. 113; 115-116.

E. LEENSON,
moscow city

The day will come - sad, they say!

They will reign, they will repay, they will burn away,

Chilled by other people's nickels -

My eyes, moving like a flame.

And - a double groping double -

A face will appear through a light face.

Oh, at last I will deserve you

A beautiful belt!

And from a distance - will I envy you too? -

Stretches, crossing himself in confusion,

Pilgrimage along the path of black

To my hand, which I will not withdraw

To my hand, from which the ban is lifted,

To my hand that no longer exists.

To your kisses, oh living ones,

I don't mind anything - for the first time.

Enveloped me from head to toe

The goodness of the wonderful boards.

Nothing will drive me to paint

Holy day I have Easter.

Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will fall behind on the way,

And the first lump will burst on the lid of the coffin, -

And finally will be resolved

Self-loving, lonely dream.

And nothing is needed from now on

The newly reposed bolyaryna Marina.

1st day of Easter

[Tsvetaeva I; 270-271]

The body and the corporeal are a significant sphere of culture and, accordingly, a special element of the poetics of a literary text: the corporeal can denote different meanings, it is not asemantic, not equal to itself (on the semiotics and semantics of body functions in literature, see first of all [Faryno III: 112 -121], cf .: [Faryno 1991: 200-228]). The body and its organs play an extremely important role in the poetics of the so-called. "Historical avant-garde", to which the work of M. Tsvetaeva belongs (about this term and about the functions of the corporeal in the "historical avant-garde" see first of all: [Smirnov 1977: 117; Dering-Smirnova, Smirnov 1982; Maimeskulov 1992]). At first glance, the semantics of the body in the analyzed poem by M. Tsvetaeva is traditional for the Christian tradition; it can be described with the same words that E. Faryno characterized the interpretation of the body in Tsvetaeva's poetic cycle Insomnia:<…> “I” gradually loses its corporeality and approaches the status of an angelic incorporeal being (“like a seraphim”, “I am a guest of heaven”) ”[Faryno III: 114]. Individually Tsvetaev's invariant motives are not such alienation from one's own body, but the absorption of the world into oneself (the “shell nature” of the “I”) and the interpretation of the sensual principle as an integral property inherent in the mythological nature of the “I” [Faryno III: 113-117].

Indeed, in the poem "The day will come - sad, they say!" the former state of passion, indicated by the "flame" of hot (now chilled") The eye and the" belt "(" the belt "is associated with inaccessibility, chastity or virginity - compare the symbolism of unleashing the belt in ancient poetry), the present dispassionateness," goodness "achieved in death is contrasted. The dispassion-goodness acquired by the heroine can be interpreted as a variant of “the most essential semantics of gender rejection in Tsvetaeva's poetic system” [Maimeskulov 1995: 277] (on the category of gender in M. Tsvetaeva's poetry see: [Gasparov 1982: 130; Elnitskaya 1990: 102, 332 -333, note 87; Revzina 1977: 63; Faryno 1978: 127-128; Faryno 1985a: 294, 376, note 79]). Endowing the lyric heroine's hand with a sign of non-existence (“to my hand, which no longer exists”) is a means to designate precisely this alienation of the “I” from my own body, which has become insensitive and therefore unreal, at least in comparison with the previous mortal condition. The body, transformed by death, acquires the signs of holiness. First of all, this property is expressed in the opposition "face - face": Church Slavicism "face" in this context, in the description of the burial and next to the mention of Easter, is endowed with sacred connotations; “Face” is an image, an icon and this face of the saint, enlightened by the divine spirit. The synonym of the word “icon” - “image” - is encoded in the lexeme “goodness”, perceived as an occasional derivative of the image-icon: “Oh, at last I will be awarded you, // Beautiful belt!”; "I was enveloped from head to toe // The beauty of a beautiful dress." The use of the word "face" in Tsvetaev's poetry and in other cases is associated with the semantics of transformation, "thinning" of the flesh, detachment from the earthly world and its passions: "Lips brighten gently, and the shadow is golden / Near sunken eyes. This night lit up / This brightest face, - and from the dark night / Only one thing darkens with us - the eyes "(" After a sleepless night, the body weakens ... "from the cycle" Insomnia "[Tsvetaeva I: 283]; see the analysis of this cycle in the work : [Faryno 1978]; the motive of the "thinning" of the flesh can be traced in the cycle "Magdalene" [Faryno 1985a]). Kissing the hand of the deceased, obviously, is endowed with signs of attachment to the relics of the saint: it is no coincidence that those who see off the deceased lyrical heroine are named pilgrims: "Pilgrimage along the black path."

This body code semantics may seem trivial; not trivial in it is only the lyrical heroine's self-determination as a saint. However, in fact, the mechanism for generating meaning in a poem is much more complex, and the meanings conveyed using the body code are internally contradictory and ambivalent.

First of all, the new ( sacred) the body acquired by the lyrical heroine is not fully hers, does not belong to her: the hand is “no more,” which means that in the existential sense her body is no longer there either. The iconographic face of the saint is thought of as an expression in it of the unchanging, eternal, divine, that is, essential. And in Tsvetaeva's text, the "face" is called the "double" of the "face" of the living heroine, while duality does not mean essential identity, but only the repetition of something similar or the same, associated with usurpation and substitution. M. Tsvetaeva endows “face” with the epithet “light”, which has undoubted positive connotations, associated with freedom from matter, from carnal heaviness; traditional expectation would rather require such a feature to be inherent in the "face." Deprived of the epithet “light”, in relation to “face”, “face” is perceived as its antonym, as something heavy. The heavy face evokes associations with a mask, including a death mask. The mask is foreign to the face and to the "I". However, the text also contains indications of the possibility of a traditional interpretation of the relationship between earthly flesh and transformed flesh. "Light" can also have pejorative connotations, like lightweight. AND bleed throughThe “face” through the “face” allows us to interpret the mortal flesh of the “I” only as a shell for the true essence. The “light face” is the flesh thinning in death through which the unchanging, eternal face appears. However, it seems somewhat unexpected that the flesh / face serves as a shell for another flesh / face, and not for the soul, as it would be in the traditional case. Tsvetaevskaya's heroine seems to be endowed with a double body - before and after mortals.

The lexeme "groped" when applied to "face" is also felt as unexpected. This word for tactile sensations is associated with blindness: the blind, the one who is blind, gropes for something. Indeed, the "face" in Tsvetaeva's poem is blind: after all, he does not have eyes that are "burnt out"; they are replaced by cold and "alien" nickels. The transformation of the body of the saint, his incorruption in the Christian tradition is associated with enlightenment. Meanwhile, in the poem "The day will come - sad, they say!" The "face" is rather dark than light. The semantics of darkness, non-light, and pejorative connotations associated with the death and burial of the heroine are evident in the epithet “black” from the following stanza: “Stretches, embarrassedly crossing himself, / Pilgrimage along the black path”.

Light, which has a high value sense in the poetry of M. Tsvetaeva, is sacred in its own way, is presented as an attribute of the lyrical “I” possessing a luminous gaze; example: i am the eye of light in the poem "Trying a Room" (about the luminous nature of M. Tsvetaeva see: [Faryno 1985a: 364, note 24] and [Faryno 1985b :; 52]. According to E. Faryno's observations, M. Tsvetaeva is characterized by oppositions " eye - eye "and" eye - eye ", in which the first element receives the connotations" sacred ", and the second -" demonic "[Faryno 1985a: 92, note 48; 95, note 57; Faryno 1986: 21].

However, in Tsvetaev's poetry, blindness, blindness can acquire a positive meaning of detachment from the external, superficial, vain, it expresses the look of the “I” inwardly: “On the bed from the boxes / For those who have laid down a great lie of contemplation, / For those who see it, there is a knife” (“ Eurydice to Orpheus "[Tsvetaeva II; 183]; blindness is the metaphorical equivalent of the poet's higher vision:" What should I do, a blind man and a stepson, / In a world where everyone is both father and sighted "(" What should I do for a blind man and a stepson ... " from the cycle "Poets" [Tsvetaeva II; 185]).

Death in M. Tsvetaeva's poem "The day will come - sad, they say!" endowed with dual, ambivalent semantics. It can be interpreted as the liberation of the spiritual principle. The very physical, carnal death is paradoxically associated with the resurrection, it is called Easter: "I have holy Easter today." The writing of the poem is indeed timed to coincide with Easter 1916, and this event is not a purely biographical circumstance, but a textual factor: the date of writing is deliberately indicated by the author. This metaphorical "Easter" of the lyrical heroine evokes associations with true Easter - the Resurrection of Christ and therefore acquires the connotations of a conquered, overcome, non-absolute death. "The beauty of the beautiful motherboard", endowed with such nuances of meaning as a new, transformed body, alien to passions, in the light of this Christological parallel, it is related to the burial shroud of Christ: this is the cloth in which the body is wrapped ("from head to toe"). In addition, it is probably associated with the veil of the Mother of God, like a belt - with the vestments of the Ever-Virgin Mary. Plat in the poem "The day will come - sad, they say!" also - a metaphor of the body, as in the poem "I will not torture your ways" from the cycle "Magdalene", the body of the heroine is likened to a shroud, in which the body of Jesus Christ taken from the cross was wrapped: "I was naked, and you wave me / Body - like with a wall / enclosed it ”[Tsvetaeva II: 222]. Implicitly, this image also contains a parallel with the symbol of the Mother of God - the Unbreakable Wall. (In other contexts, for M. Tsvetaeva, “cover” can mean a human body - rejected, thrown away in death: “For those who have cut off the last shreds / Cover (no mouth, no cheeks! ...)” - “Eurydice to Orpheus” [Tsvetaeva II : 183].

In the penultimate stanza of the poem, thanks to the grammatical construction of the sentence, the funeral procession, in which the dead body is an object, and not a subject of action, appears as the journey of a living heroine: “Along the streets of abandoned Moscow / I will go, and you will wander”. A neutral, normative construction would be different: i will be lucky... The motive of the heroine's involvement in the world of the living, not the dead, is also created thanks to the grammatical parallelism of the constructions that describe the buried heroine and the living people accompanying her: "I will go, and you will wander." The expression “selfish, lonely dream” in the verses “And finally will be resolved / Self-loving, lonely dream” is a variation of the metaphor of the traditional metaphor “life is a dream, death is awakening”, which also testifies to the relativity of death and its possible perception as a kind of good that frees the egoistic earthly "I" from the illusory pretensions.

But at the same time death, which is spoken of in this poem, can be interpreted as the destruction of "I". This is indicated not only by the mention of faded eyes ( the mirror of the soul), the gap between the "face" of the living and the "face" of the dead heroine, and alienation from her own body, metonymically designated by the "hand that no longer exists." Eternal peace, dispassion can be interpreted not only as the spiritual state of a saint, but also as the insensibility of a dead, dead body. The mortal body of the lyrical heroine is her, her “I” does not belong. It is no coincidence that only the body is spoken of, not the soul of the deceased: the implied soul is either already outside the body, or has ceased to exist. At least, the heroine's “I” was destroyed - passionate and therefore unthinkable outside the body. If the remaining body is endowed with some traits of holiness, non-worldliness, eternity / incorruptibility, then in the existential sense it is not her body. Death is both the transformation and destruction of the body. Separating the soul and body, it leads to the destruction, erasure of "I" and to the emergence incorporeal body, incorporeal flesh. Initially, the heroine seems to strive for liberation from passions: "Oh, at last I will be awarded you, / A beautiful belt!" But the state she has acquired turns out to be either unconditional death, or the peace and insensibility of a new, different body, to which another “I” corresponds: through the twinning of bodies, two different “I” are designated.

Such a bodily and mental / spiritual duality corresponds to the dual nature of the temporal structure of the text. Death / transformation is presented as an event of an imaginary future: “The day will come”; "Will reign<…> my eyes"; "The face will appear"; "Will stretch<…> pilgrimage"; "I don't mind"; "Will not drive into the paint"; “I'll go - I”; “And the first lump will burst on the lid of the coffin”; "And finally, a selfish, lonely dream will be resolved," then as an event that took place in the recent past: "I was enveloped from head to toe / The beauty of a beautiful dress." The grammatical forms of the present tense in the lines "To my hand, from which the ban has been lifted, / To my hand, which no longer exists" have a perfect meaning, indicating death as a recent occurrence. The perception of one's own demise as having taken place in the past, apparently, reflects the point of view of the “I” who has passed into eternity; the earthly "I" thinks of this death as belonging to the future. In the present tense of the final poems "And nothing is needed from now on / The newly departed bolyaryna Marina" opposition "past - future" is removed, respectively, the earthly and otherworldly, mortal "I" here acquire a certain conventional unity, being designated by the name of the heroine and the author. It is significant that the semantically highlighted part of the poem - the last stanza ending with the final pointe - is not a description of the release, not of the transformation of the heroine's body, but of his burial: “And the first lump will burst on the lid of the coffin, - / And finally it will be resolved / Self-loving, lonely dream. / And nothing is needed from now on / The newly reposed bolyaryna Marina. " Easterthe lyrical heroine is not a resurrection, but an irresistible death. A parallel with Christ, but not resurrected, but led to the crucifixion, can be traced in the last line of the poem: as the disciples turned away from the Savior, so not everyone who sees the heroine on her last journey reaches the grave: "And not one will fall behind." In contrast to Christ, Tsvetaeva's heroine does not rise or rise again: her Easter -this is her death.

Remarkable is the replacement in the last line of the personal pronoun of the first person "I" and the forms "mine", "mine" derived from it, with the expression "bolyarynya Marina": this replacement simultaneously means alienation of the "I" from itself (looking at oneself from the outside) and not- existence, disappearance of "I".

So, death in M. Tsvetaeva's poem is presented, on the one hand, as a transformation, on the other, as a transition into nothingness. At the first interpretation of metaphysical or existential irony, signs of death, destruction, which turn out to be false, untenable, are subjected to. In the second interpretation, tragic irony envelops the images of the resurrection (Easter), transformation. This ambivalence is inherent in Tsvetaeva's text in another case: the kissing of hands is endowed with dual semantics. This is an erotic kiss, a kiss of the hand of a fan ("You" as he, the only one, kisses that would embarrass the heroine in life), and kissing the relics / icons.

The transformation / destruction of the lyric heroine in death, presented in the poem "The day will come - sad, they say!" as if in a condensed form combines several options for the relationship of "I", soul and body, characteristic of Tsvetaeva poetry. The interpretation of death as the separation of soul and body, leading to non-being, to disembodiment, is presented in the first and second poems from the "Tombstone" cycle. Neither the body (bone) buried in the earth, nor the soul ascended into the heavenly spheres embodies, does not preserve the deceased "I": "No, none of the two: / A bone too much is a bone, a spirit too much is a spirit"; “Not you - not you - not you - not you. / Whatever the priests sing to us, / That death is life and life is death, - / God is too God, a worm is too worm "; "We are indivisible into a corpse and a ghost!" [Tsvetaeva II: 325-326]. M. Tsvetaeva, polemicizing with Derzhavin's spiritual ode "God", where a person is thought of simultaneously as god (i.e., the spirituality) and worm(bodily principle, weakness, mortality), asserts that “God” and “worm”, spirit and dead flesh in their separation are not involved in the “I” of man. In this case, it is more likely not about denying the immortality of the soul, but precisely about the fact that it is not the "I" of the deceased.

However, along with the interpretation of death as the transition of the “I” into absolute non-being, the lyrics of M. Tsvetaeva contain an interpretation of the true life of the “I” as non-involvement in the material, “bodily” world: death in this case is thought of as liberation: “Or maybe the best victory / Over time and gravitation - / Pass, so as not to leave a trace, / Pass, so as not to leave a shadow // On the walls ... /<…> / To disintegrate, leaving no dust // On the urn ... "(" Sneak ... "[Tsvetaeva II: 199], for an analysis of this poem see: [Faryno 1987]). Not leaving a trace in the material world, including after death, is conceived not as non-existence, but as true being. Death in this case must be the quintessence of liberation.

A similar interpretation of death as liberation, as a desired disembodiment is given in the cycle of poems "The Daughter of Jairus", polemically "rewriting" the Gospel story about the resurrection of a dead girl by Christ. For M. Tsvetaeva, resurrection is not a blessing, but an evil or a reckless and inappropriate act (cf. a similar transformation in her work of the myth about the arrival of Orpheus in Hades to bring Eurydice out of the kingdom of death): “In the open spaces of the cut - / Loss of the body, /, Posthumous through. // Girl, you can't hide, / What the bone wanted / From the bone apart ”[Tsvetaeva II: 96]. Death is conceived here as liberation, the loss of the body, for which the flesh longs for, bone). Death is interpreted and described as a transformation of the flesh, its transformation into thin permeable matter ("through" here is occasionalism, a noun). Dead flesh is endowed with a sign of a special intense vitality - a tan: “It will not move from the road / Sheer. - / That of Eternity / Immortal tan ”[Tsvetaeva II: 97]. The same image of mortal-immortal tanning is found in the poem "On a maiden's fluff, gentle -", written at the same time as "Jairus's Daughter": "On a maiden's fluff, gentle - / Death with a silver tan" [Tsvetaeva II: 97]. The paradoxical rapprochement of death and sunburn is motivated by the interpretation of death as burning and self-immolation (compare in the lyrics of M. Tsvetaeva the self-identification of “I” with Zhanna d'Arc, burnt at the stake).

The traditional concept of the body as the antithesis of spirit and soul, apparently going back to the Platonic and Neoplatonic and to the associated Gnostic philosophical systems, is presented in the poem "Alive, not dead ...": In the body as in the hold, / In myself like in prison. // The world is walls. / Exit - an ax. /<…> (Only poets / In the bones - as in a lie!) // No, we do not walk, / Singing brothers, / In the body as in a cotton / Father's robe. // Best worth it. / We languish in the warmth. / In the body - as in the stall. / In yourself - as in a cauldron. // We don’t save money / splendor. / In the body - as in the swamp, / In the body - as in the crypt, // In the body - as in the extreme / Link - withered. / In the body - as in a secret, / In the temples - as in a vice. // Masks of the iron "[Tsvetaeva II: 254].

Living flesh is endowed with signs of remains, a skeleton: "(Only poets / In the bones as in a lie!)". This is the dungeon of the "I" (at least, the sublime "I" of the poets), while the "I" in this case, apparently, is identical with the soul. The idea of \u200b\u200bsome kind of unity, fusion of body and soul is not simply rejected. Such a representation is presented as a common, ordinary (\u003d bourgeois) and, probably, as a false (\u003d actor's) understanding: “(“ The world is a scene ”, / The actor babbles. // And he didn’t deceive, / The jolly jester. as in glory, / In the body - as in a toga "[Tsvetaeva II: 254]. Moreover, such an understanding is interpreted as demonic, diabolical:" the actor is called "arched," lame; and according to mythological ideas, lame is a devil. consciousness, the actor is involved in the devilish, “shadow” world, and the word “jester” in colloquial speech can still be used as a euphemism replacing the lexeme “devil.” Compare examples from VI Dal: “Jester and thief, shytik, devil. Fool, take him! Well, to the fool! || every kind of nézhit, brownie, goblin, water<…>... || Jester, horse paralysis, attributed to an unfriendly brownie, if the horse is not in the yard [cf. jester's fretting in M. Tsvetaeva's poem. - A.R., A.B.]. He's already drunk to jokes, to hell. Not a jester (not a devil) popped (planted, pushed, dug), he got it! Fool (devil), fool, play and give it back again! (sentenced, having lost something) ”[Dahl IV: 650].

A close interpretation of the body and “I” is expressed in the poem “I sang like arrows and like moraines…”: “- She sang! - and a whole wall of mattress / Couldn't stop / The world was me. / For a single snatched / Gift from the gods ... running! // Sang like arrows. / Body? / I don’t care ”[Tsvetaeva II: 241]. Here the opposition "body - soul (me)" is replaced by the oppositions "body - singing (song)" and "body - running", and singing and running are attributes of "I" in its non- and anti-corporeality. Singing and running are thought of as "overcoming" the physical.

Another version of the relationship between body and soul is contained in the poem "Quita: I am eaten by you ...", which ends the cycle "Table". Body and soul are co-natural, isomorphic to each other. The soul endowed with coarse vital corporeality is the soul of the philistine, the philistine. The death of an ordinary person is represented in the traditional cultural code, subjected to an individual Tsvetaeva transformation. This separation of soul and body, however, is illusory. The soul of the man in the street is "hyper-bodily": "With a capon instead of a dove / Flour!" - the soul at autopsy ”[Tsvetaeva II: 314]. The body of a bourgeois is a kind of shell, in which an equally fleshly "soul" - a capon, is hidden. His body is like a pie from which live birds flew out at a feast at Trimalchion in Petronius' Satyricon. The contrast of the concept is significant doveendowed with spiritual and sacred connotations (symbol of the Holy Spirit) capondeprived of them. With the help of the imaginary spiritual (“soul”), the bodily, or, more precisely, the non-spiritual and the non-spiritual, is encoded here. On the contrary, in the case of the death of the lyrical heroine, the “I” - the creator, the poet, the isomorphism of the soul and body is expressed in the fact that the body is endowed with metaphorical attributes of the soul and the angel as an incorporeal being ( wings). Similarly, in the poem "Soul", the poet's soul is endowed with the attribute of "non-wingedness" inherent in the seraphim (here an allusion to Pushkin's poem "The Prophet" is obvious): "Six-winged, heartfelt, / Between the imaginary - prostrate! - sheer, / Not strangled by your carcasses / Du - sha "[Tsvetaeva II: 164]. In the poem "Quita: I am eaten by you ..." the body denotes the soul, bodily nudity does not indicate itself, but the disclosure, "exposure" of the soul in the body: "And they will lay me down - naked: / Two wings as a cover" [Tsvetaeva II: 314 ].

The contradiction between the interpretation of death as a transition into nothingness in the "Gravestone" cycle and the interpretation of death as liberation in a number of other poems by M. Tsvetaeva is probably imaginary. In the cycle "Tombstone" and above all in the poem "In vain with the eye, like a nail ..." death is seen from an external point of view, in its significance for those who remain to live. From this point of view, the departure of a person (another) from this world is perceived as complete destruction. But from the point of view of the inner (deceased, outgoing), dying is not a complete erasure of the "I", but its release, the acquisition of higher freedom and peace.

The ambivalent semantics of the body (as an element, a contrasting “I” and as a quintessence) of “I” in M. Tsvetaeva's poetry is associated with the fact that the body can be endowed with both a sign of anti-spirituality and spiritual content. Actually, we can talk about the existence of two different concepts in Tsvetaev's texts body... A feature of the poem "The day will come - sad, they say!" is the opposition of two bodies"I", while none of them is endowed with unambiguous evaluative meanings. The loss of passion by the heroine in death is also devoid of an unambiguous assessment, in contrast to cases when passion, sensuality is either evaluated positively, as a spiritual principle (for example, in Magdalene), or negatively, as a kind of incompleteness and inferiority (for example, in the cycle Praise to Aphrodite "And in the poem" Eurydice to Orpheus "). Semantic conflict in Tsvetaev's texts, as a rule, occurs between the plane of expression and the plane of content. So, in the poem "Eurydice to Orpheus" "immortality" or death is indicated by a metaphor associated with dying: "With immortality a snakebite / female passion ends" [Tsvetaeva II: 183]. But for all the paradoxicality of the life of the dead in their "ghost house", this posthumous existence is presented here as an undoubted given, value-wise superior to earthly existence. In the poem "The day will come - sad, they say!" there is no such unambiguity, and the content plan is covered by the conflict of meanings.

Literature

Gasparov 1982 - "The Poem of Air" by Marina Tsvetaeva: the experience of interpretation // Works on sign systems. Issue XV. Tartu.

Dal I-IV - Dal V. Explanatory Dictionary of the Living Great Russian Language. T. 1-4. M., 1995 [reprint ed. 1880-1882].

Dering-Smirnova, Smirnov 1982 - Dering-Smirnova I.-R., Smirnov I.P. Essays on the historical typology of culture:… → Realism /… / → Post-symbolism / Avant-garde →…. Salzburg.

Elnitskaya 1990 - Elnitskaya S. Tsvetaeva's poetic world: the conflict between the lyrical hero and reality // Wiener Slawistischer Almanach. Sonderband 30.

Maimeskulov 1992 - Majmieskułow A. Leads under the lyrical current. (The cycle of Marina Tsvetaeva "Wires"). Bydgoszcz.

Maimeskulov 1995 - Majmieskułow A. Tsvetaeva's poem "In the gray hair - the temple ..." // Studia Russica Budapestinensia. Vol. II-III. Budapest.

Revzina 1977 - Revzina O.G. From observations of the semantic structure of the "Poem of the End" by M. Tsvetaeva // Works on sign systems. Issue IX. Tartu.

Smirnov 1977 - Smirnov I.P. Artistic meaning and evolution of poetic systems. M.

Faryno I-III - Faryno J. Introduction to literary criticism. Wstęp do literaturoznawstwa. Ch. 1-3. Katowice, 1978-1980.

Faryno 1978 - Faryno J. “Insomnia” by Marina Tsvetaeva (Experience of Cycle Analysis) // Zbornik for Slavic Studies. Broj 15. Novi Sad.

Faryno 1985а - Faryno J. Tsvetaeva's mythology and theologism ("Magdalene" - "Tsar Maiden" - "Lanes") // Wiener Slawistischer Almanach. Sonderband 18..

Faryno 1985b - Faryno J. Zarys poetyki Cwietajewej // Poezja. No 3 (229).

Faryno 1986 - Faryno J. "Elder" Tsvetaeva // Wiener Slawistischer Almanach. Bd. 18.

Faryno 1987 - Faryno J. Tsvetaeva's poem "Sneak ..." // Wiener Slawistischer Almanach. Bd. 20.

Faryno 1991 - Faryno J. Introduction to Literary Studies. Wstęp do literaturoznawstwa. Wydanie II poszerzone i zmienione. Warszawa.

Tsvetaeva I-VII - Tsvetaeva M. Collected works: In 7 volumes, M., 1994.

The body code in Marina Tsvetaeva's poem "The day will come - sad, they say!"

The day will come - sad, they say!

They will reign, they will repay, they will burn away,

- Chilled by other people's nickels -

My eyes, moving like a flame.

And - a double groping double -

A face will appear through a light face.

Oh, at last I will deserve you

A beautiful belt!

And from a distance - will I envy you too? -

Stretches, crossing himself in confusion,

Pilgrimage along the path of black

To my hand, which I will not withdraw

To my hand, from which the ban is lifted,

To my hand that no longer exists.

To your kisses, oh living ones,

I don't mind anything - for the first time.

Enveloped me from head to toe

The goodness of the wonderful boards.

Nothing will drive me to paint

Holy day I have Easter.

Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will fall behind on the way,

And the first lump will burst on the lid of the coffin, -

And finally will be resolved

Self-loving, lonely dream.

And nothing is needed from now on

The newly reposed bolyaryna Marina.

The body and the corporeal are a significant sphere of culture and, accordingly, a special element of the poetics of a literary text: the corporeal can mean different meanings, it is not asemantic, it is not equal to itself. The body and its organs play an extremely important role in the poetics of the so-called "historical avant-garde", to which the work of M. Tsvetaeva belongs. At first glance, the semantics of the body in the analyzed poem by Tsvetaeva is traditional for the Christian tradition; it can be described with the same words that E. Faryno characterized the interpretation of the body in Tsvetaeva's poetic cycle Insomnia:<…> “I” gradually loses its corporeality and approaches the status of an angelic incorporeal being (“like a seraphim,” “I am a guest of heaven”). " Individually Tsvetaev's invariant motives are not such alienation from one's own body, but the absorption of the world into oneself (the “shell nature” of the “I”) and the interpretation of the sensual principle as an integral property inherent in the mythological nature of the “I”.

Indeed, in the poem "The day will come - sad, they say!" the former state of passion, indicated by the "flame" of hot (now "Chilled") The eye and the" belt "(" belt "is associated with inaccessibility, chastity or virginity - compare the symbolism of unleashing the belt in ancient poetry), opposed to the present dispassion," goodness "achieved in death. The dispassion-goodness acquired by the heroine can be interpreted as a variant of “the most essential semantics of gender rejection in Tsvetaeva's poetic system”. Endowing the hand of the lyric heroine with a sign of non-existence ("to my hand, which no longer exists") is a means to indicate precisely this alienation of the "I" from my own body, which has become insensible and therefore unreal, at least in comparison with the previous, pre-death state ... The body, transformed by death, acquires the signs of holiness. First of all, this property is expressed in the opposition "face - face": Church Slavicism "face" in this context, in the description of the burial and next to the mention of Easter, is endowed with sacred connotations; “Face” is an image, an icon and this face of the saint, enlightened by the divine spirit. The synonym for the word “icon” - “image” - is encoded in the lexeme “goodness”, perceived as an occasional derivative of the image-icon: “Oh, at last I will be awarded you, / Beautiful belt!”; "I was enveloped from head to toe / The beauty of a beautiful dress." The use of the word "face" in Tsvetaev's poetry and in other cases is associated with the semantics of transformation, "thinning" of the flesh, detachment from the earthly world and its passions: "Lips brighten gently, and the shadow is golden / Near sunken eyes. This night lit up / This brightest face - and from the dark night / Only one thing darkens with us - the eyes "(" After a sleepless night, the body weakens ... "from the cycle" Insomnia "). Kissing the hand of the deceased, obviously, is endowed with signs of attachment to the relics of the saint: it is not by chance that those who see off the deceased lyrical heroine are named pilgrims: "Pilgrimage along the black path."

This body code semantics may seem trivial; not trivial in it is only the lyrical heroine's self-determination as a saint. However, in fact, the mechanism for generating meaning in a poem is much more complex, and the meanings conveyed using the body code are internally contradictory and ambivalent.

First of all, the new ( sacred) the body acquired by the lyrical heroine is not fully hers, does not belong to her: the hand is “no more,” which means that in the existential sense her body is no longer there either. The iconographic face of the saint is thought of as an expression in it of the unchanging, eternal, divine, that is, essential. And in Tsvetaeva's text, the “face” is called the “double” of the “face” of the living heroine, while duality does not mean essential identity, but only the repetition of something similar or the same, associated with usurpation and substitution. M. Tsvetaeva endows the “face” with the epithet “light”, which has undoubted positive connotations, associated with freedom from matter, from carnal heaviness; traditional expectation would rather require such a feature to be inherent in the "face." Deprived of the epithet “light”, in relation to “face”, “face” is perceived as its antonym, as something heavy. The heavy face evokes associations with a mask, including a death mask. The mask is foreign to the face and to the "I". However, the text also contains indications of the possibility of a traditional interpretation of the relationship between earthly flesh and transformed flesh. "Light" can also have pejorative connotations, like lightweight. AND bleed throughThe “face” through the “face” allows us to interpret the mortal flesh of the “I” only as a shell for the true essence. The “light face” is the flesh thinning in death, through which the unchanging, eternal face appears. However, it seems somewhat unexpected that the flesh / face serves as a shell for another flesh / face, and not for the soul, as it would be in the traditional case. Tsvetaevskaya's heroine seems to be endowed with a double body - before and after mortals.

The lexeme "groped" when applied to "face" is also felt as unexpected. This word for tactile sensations is associated with blindness: the blind, the one who is blind, gropes for something. Indeed, the "face" in Tsvetaeva's poem is blind: after all, he does not have eyes that are "burnt out"; they are replaced by cold and "alien" nickels. The transformation of the body of the saint, his incorruption in the Christian tradition is associated with enlightenment. Meanwhile, in the poem "The day will come - sad, they say!" The "face" is rather dark than light. The semantics of darkness, non-light, and pejorative connotations associated with the death and burial of the heroine are evident in the epithet “black” from the following stanza: “Stretches, embarrassedly crossing himself, / Pilgrimage along the black path”.

Light, which in the poetry of M. Tsvetaeva has a high value sense, is sacred in its way, is presented as an attribute of the lyrical “I”, which has a luminous gaze; example: i am the eye of light in the poem "Room Attempt". According to E. Faryno's observations, M. Tsvetaeva is characterized by the oppositions "eye - eye" and "eye - eye", in which the first element receives the connotation "sacred", and the second - "demonic".

However, in Tsvetaev's poetry, blindness, blindness can acquire a positive sense of detachment from the external, superficial, vain, it expresses the look of the “I” inwardly: “On a bed from the boxes / For those who have laid down a great lie of contemplation, / For those who see it, there is a knife” (“ Eurydice to Orpheus "[Tsvetaeva II; 183]; blindness is the metaphorical equivalent of the poet's higher vision:" What am I to do, a blind man and a stepson, / In a world where everyone is both father and sighted "(" What can I do, a blind man and a stepson ... "from the cycle" Poets ").

Death in M. Tsvetaeva's poem "The day will come - sad, they say!" endowed with dual, ambivalent semantics. It can be interpreted as the liberation of the spiritual principle. The very physical, carnal death is paradoxically associated with the resurrection, it is called Easter: "I have holy Easter today." The writing of the poem is indeed timed to coincide with Easter 1916, and this event is not a purely biographical circumstance, but a textual factor: the date of writing is deliberately indicated by the author. This metaphorical "Easter" of the lyrical heroine evokes associations with true Easter - the Resurrection of Christ and therefore acquires the connotations of a conquered, overcome, non-absolute death. "The beauty of the beautiful motherboard", endowed with such nuances of meaning as a new, transformed body, alien to passions, in the light of this Christological parallel, it is related to the burial shroud of Christ: this is the cloth in which the body is wrapped ("from head to toe"). In addition, it is probably associated with the veil of the Mother of God, like a belt - with the vestments of the Ever-Virgin Mary. Plat in the poem "The day will come - sad, they say!" also - a metaphor of the body, as in the poem "I will not torture your ways" from the cycle "Magdalene" the body of the heroine is likened to a shroud, in which the body of Jesus Christ taken from the cross was wrapped: "I was naked, and you wave me / Body - like wall / enclosed "(II; 222). Implicitly, this image also contains a parallel with the symbol of the Mother of God - the Unbreakable Wall. (In other contexts, Tsvetaeva's "cover" can mean a human body - rejected, thrown away in death: "For those who have cut off the last shreds / Cover (neither lips, nor cheeks! ..)" - "Eurydice to Orpheus.")

In the penultimate stanza of the poem, thanks to the grammatical construction of the sentence, the funeral procession, in which a dead body is an object, not a subject of action, appears as a journey of a living heroine: “Along the streets of abandoned Moscow / I will go, and you will wander”. A neutral, normative construction would be different: i will be lucky... The motive of the heroine's involvement in the world of the living, not the dead, is also created due to the grammatical parallelism of constructions describing the buried heroine and living people accompanying her. The expression "selfish, lonely dream" in the verses "And finally will be resolved / Self-love, lonely dream" is a variation of the traditional metaphor "life is a dream, death is awakening", which also testifies to the relativity of death and its possible perception as a kind of good that frees the egoistic earthly "I" from the illusory claims.

But at the same time death, which is spoken of in this poem, can be interpreted as the destruction of "I". This is indicated not only by the mention of faded eyes ( the mirror of the soul), the gap between the "face" of the living and the "face" of the dead heroine, and alienation from her own body, metonymically designated by the "hand that no longer exists." Eternal peace, dispassion can be interpreted not only as the spiritual state of a saint, but also as the insensibility of a dead, dead body. The posthumous body of the lyrical heroine is her, her "I" does not belong. It is no coincidence that only the body is spoken of, but not the soul of the deceased: the implied soul is either already outside the body, or has ceased to exist. At least, the heroine's “I” was destroyed — passionate and therefore unthinkable outside the body. If the remaining body is endowed with some traits of holiness, non-worldliness, eternity / incorruptibility, then in the existential sense it is not her body. Death is both the transformation and destruction of the body. Separating the soul and body, it leads to the destruction, erasure of "I" and to the emergence incorporeal body, incorporeal flesh. Initially, the heroine seems to strive for liberation from passions: "Oh, at last I will be awarded you, / A beautiful belt!" But the state she has acquired turns out to be either unconditional death, or the peace and insensibility of a new, different body, to which another “I” corresponds: through the twinning of bodies, two different “I” are designated.

Such a bodily and mental / spiritual duality corresponds to the dual nature of the temporal structure of the text. Death / transformation is presented as an event of an imaginary future: “The day will come”; "Will reign<…> my eyes"; "The face will appear"; "Will stretch<…> pilgrimage"; "I don't mind"; "Will not drive into the paint"; “I'll go - I”; “And the first lump will burst on the lid of the coffin”; "And finally, a selfish, lonely dream will be resolved," then as an event that took place in the recent past: "I was enveloped from head to toe / The beauty of a beautiful dress." The grammatical forms of the present tense in the lines "To my hand, from which the ban has been lifted, / To my hand, which no longer exists" have a perfect meaning, indicating death as a recent occurrence. The perception of one's own demise as having taken place in the past, apparently, reflects the point of view of the “I” who has passed into eternity; the earthly "I" thinks of this death as belonging to the future. In the present tense of the final verses "And nothing is needed from now on / Newly departed bolyaryna Marina" opposition "past - future" is removed, respectively, the earthly and otherworldly, the posthumous "I" here acquire a certain conventional unity, being designated by the name of the heroine and the author. It is significant that the semantically highlighted part of the poem - the last stanza ending with the final pointe - is not a description of the release, not of the transformation of the heroine's body, but of his burial: “And the first lump will burst on the lid of the coffin, - / And finally it will be resolved / Self-loving, lonely dream. / And nothing is needed from now on / The newly reposed bolyaryna Marina. " Easterthe lyrical heroine is not a resurrection, but an irresistible death. A parallel with Christ, but not resurrected, but led to the crucifixion, can be traced in the last line of the poem: as the disciples turned away from the Savior, so not everyone who sees the heroine on her last journey reaches the grave: "And not one will fall behind." In contrast to Christ, Tsvetaeva's heroine does not rise or rise again: her Easter -this is her death.

Remarkable is the replacement in the last line of the personal pronoun of the first person "I" and the forms "mine", "mine" derived from it, with the expression "bolyarynya Marina": this replacement simultaneously means alienation of the "I" from itself (looking at oneself from the outside) and not- existence, disappearance of "I".

So, death in M. Tsvetaeva's poem is presented, on the one hand, as a transformation, on the other, as a transition into nothingness. At the first interpretation of metaphysical or existential irony, signs of death, destruction, which turn out to be false, untenable, are subjected to. In the second interpretation, tragic irony envelops the images of the resurrection (Easter), transformation. This ambivalence is inherent in Tsvetaeva's text in another case: the kissing of hands is endowed with dual semantics. This is an erotic kiss, a kiss of the hand of a fan ("You" as he, the only one, kisses that would embarrass the heroine in life), and kissing the relics / icons.

The transformation / destruction of the lyric heroine in death, presented in the poem "The day will come - sad, they say!" as if in a condensed form combines several options for the relationship of "I", soul and body, characteristic of Tsvetaeva poetry. The interpretation of death as the separation of soul and body, leading to non-being, to disembodiment, is presented in the first and second poems from the "Tombstone" cycle. Neither the body (bone) buried in the earth, nor the soul ascended into the heavenly spheres embodies, does not preserve the deceased "I": "No, none of the two: / A bone too much is a bone, a spirit too much is a spirit"; “Not you - not you - not you - not you. / What? no matter how the priests sang to us, / That death is life and life is death, - / God is too God, a worm is too worm "; "We are indivisible into a corpse and a ghost!" (II; 325–326). M. Tsvetaeva, polemicizing with Derzhavin's spiritual ode "God", where a person is thought of simultaneously as god (that is, the spirituality) and worm(bodily principle, weakness, mortality), asserts that “God” and “worm”, spirit and dead flesh in their separation are not involved in the “I” of man. In this case, it is more likely not about denying the immortality of the soul, but precisely about the fact that it is not the "I" of the deceased.

However, along with the interpretation of death as the transition of “I” into absolute non-being, Tsvetaeva's lyrics contain an interpretation of the true life of the “I” as non-involvement in the material, “bodily” world: death in this case is thought of as liberation: “Or maybe the best victory / Over time and gravitation - / Pass, so as not to leave a trace, / Pass, so as not to leave a shadow // On the walls ... /<…> / Disintegrate, leaving no dust // On the urn ... "(" Sneak ... "). Not leaving a trace in the material world, including after death, is conceived not as non-existence, but as true being. Death in this case must be the quintessence of liberation.

A similar interpretation of death as liberation, as a desired disembodiment is given in the cycle of poems "The Daughter of Jairus", polemically "rewriting" the Gospel story about the resurrection of a dead girl by Christ. Tsvetaeva's resurrection is not a blessing, but an evil or a reckless and inappropriate act (cf. a similar transformation in her work of the myth of the arrival of Orpheus in Hades to bring Eurydice out of the kingdom of death): “In the vastness of the cut - / Loss of the body, / ... // Girl, you can't hide, / What the bone wanted / From the bone apart ”(II; 96). Death is conceived here as liberation, the loss of the body, for which the flesh longs for, bone). Death is interpreted and described as a transformation of the flesh, its transformation into thin permeable matter ("through" here is occasionalism, a noun). Dead flesh is endowed with a sign of a special intense vitality - a tan: “It won’t move from the road / Sheer. - / That of Eternity / Immortal tan "(II; 97). The same image of mortal immortal tanning is found in the poem "On a girlish fluff, gentle ...", written at the same time as "Jairus's Daughter": "On a girlish fluff, gentle - / Death with a silver tan" (II; 97). The paradoxical rapprochement of death and sunburn is motivated by the interpretation of death as burning and self-immolation (compare in the lyrics of M. Tsvetaeva the self-identification of “I” with Zhanna d'Arc, burnt at the stake).

The traditional concept of the body as the antithesis of spirit and soul, apparently going back to the Platonic and Neoplatonic and to the associated Gnostic philosophical systems, is presented in the poem "Alive, not dead ...": "In the body as in the hold, / In myself like in prison. // The world is walls. / Exit - an ax. /<…> (Only poets / In the bones - as in a lie!) // No, we do not walk, / Singing brothers, / In the body as in a cotton / Father's robe. // Best worth it. / We languish in the warmth. / In the body - as in the stall. / In yourself - as in a cauldron. // We don’t save money / splendor. / In the body - as in the swamp, / In the body - as in the crypt, // In the body - as in the extreme / Link. - Stop! / In the body - as in a secret, / In the temples - as in a vice // Iron masks ”(II; 254).

Living flesh is endowed with signs of remains, a skeleton: "Only poets / In the bones - as in a lie!" This is the dungeon of the "I" (at least, the sublime "I" of the poets), while the "I" in this case, apparently, is identical with the soul. The idea of \u200b\u200bsome kind of unity, fusion of body and soul is not simply rejected. Such a representation is presented as a commonplace, ordinary (\u003d bourgeois) and, probably, as a false (\u003d actor's) understanding: “(“ The world is a scene, ”/ The actor babbles.) // And he was not lying, / The jester is biting. / In the body - as in glory, / In the body - as in the toga ”(II: 254). Moreover, such an understanding is interpreted as demonic, diabolical: the actor is called "arched," lame; but according to mythological ideas, the lame devil. In the medieval folk consciousness, the actor is involved in the devilish, "shadow" world, and the word "jester" in colloquial speech can still be used as a euphemism replacing the lexeme "devil". Wed examples from V.I. Dalia: “A jester and a thief, a joker, devil. Fool, take it! Well, to the clown! || all undead, brownie, goblin, water<…>... || Jester, horse paralysis, attributed to an unfriendly brownie, if the horse is not in the yard (cf. the jester's jerk in a poem by M. Tsvetaeva - A.R., A.B.). He's already drunk to jokes, to hell. Not a jester (not a devil) popped (planted, pushed, dug), he got it! Fool (devil), fool, play and give it back again! (sentenced, having lost something) ".

A close interpretation of the body and “I” is expressed in the poem “- She sang like arrows and like moraines ...”: “- She sang! - and a whole wall of mattress / Couldn't stop / The world was me. / For a single snatched / Gift from the gods ... running! // Sang like arrows. / Body? / I don’t care ”(II; 241). Here the opposition "body - soul (me)" is replaced by the oppositions "body - singing (song)" and "body - running", and singing and running are attributes of "I" in its non- and anti-body. Singing and running are thought of as "overcoming" the physical.

Another version of the relationship between body and soul is contained in the poem "Quita: I am eaten by you ...", which ends the cycle "Table". Body and soul are co-natural, isomorphic to each other. The soul endowed with coarse vital corporeality is the soul of the philistine, the philistine. The death of an ordinary person is represented in the traditional cultural code, subjected to an individual Tsvetaeva transformation. This separation of soul and body, however, is illusory. The soul of the man in the street is "hyper-bodily": "With a capon instead of a dove / Flour!" - the soul at autopsy "(II; 314). The body of a bourgeois is a kind of shell, in which an equally fleshly "soul" - a capon, is hidden. His body is like a pie from which live birds flew out at a feast at Trimalchion in Petronius' Satyricon. The contrast of the concept is significant doveendowed with spiritual and sacred connotations (symbol of the Holy Spirit), capondeprived of them. With the help of the supposedly spiritual (“soul”), the bodily, or, more precisely, the non- and non-spiritual, is encoded here. On the contrary, in the case of the death of the lyric heroine, the "I" - the creator, the poet, the isomorphism of the soul and body is expressed in the fact that the body is endowed with metaphorical attributes of the soul and the angel as an incorporeal being ( wings). In a similar way, in the poem "Soul", the poet's soul is endowed with the attribute of "six-winged" inherent in the seraphim (here an allusion to Pushkin's poem "The Prophet" is obvious): "Six-winged, sweet - stuffy, / Between the imaginary - prostrate! - sheer, / Not strangled by your carcasses / Du - sha "(II; 164). In the poem "Quita: I am eaten by you ..." the body denotes the soul, bodily nudity does not indicate itself, but the disclosure, "exposure" of the soul in the body: "And they will lay me down - naked: / Two wings as a cover" (II; 314) ...

The contradiction between the interpretation of death as a transition into nothingness in the "Tombstone" cycle and the interpretation of it in a number of other poems by M. Tsvetaeva as liberation is probably imaginary. In the cycle "Tombstone" and above all in the poem "In vain with the eye, like a nail ..." death is seen from an external point of view, in its significance for those who remain to live. From this point of view, the departure of a person (another) from this world is perceived as complete destruction. But from the point of view of the inner (deceased, outgoing), dying is not a complete erasure of the "I", but its release, the acquisition of higher freedom and peace.

The ambivalent semantics of the body (as an element, a contrasting "I", and as the quintessence of "I") in Tsvetaeva's poetry is connected with the fact that the body can be endowed with both a sign of anti-spirituality and spiritual content. Actually, we can talk about the existence of two different concepts in Tsvetaev's texts body... A feature of the poem "The day will come - sad, they say!" is the opposition of two bodies"I", while none of them is endowed with unambiguous evaluative meanings. The heroine's loss of passion in death is also devoid of an unambiguous assessment, in contrast to cases when passion, sensuality is either assessed positively, as a spiritual principle (for example, in Magdalene), or negatively, as a kind of incompleteness and deficiency (for example, in the cycle Praise to Aphrodite "And in the poem" Eurydice to Orpheus "). Semantic conflict in Tsvetaev's texts, as a rule, occurs between the plane of expression and the plane of content. So, in the poem "Eurydice to Orpheus" "immortality", or in death, is indicated by a metaphor associated with dying: "With immortality a snakebite / Women's passion ends" (II; 183). But for all the paradoxicality of the life of the dead in their "ghost house", this posthumous existence is presented here as an undoubted given, value-wise superior to earthly existence. In the poem "The day will come - sad, they say!" there is no such unambiguity, and the content plan is covered by the conflict of meanings.

"My poems ... will have their turn" (MI Tsvetaeva) Art in the light of conscience The formation of Marina Ivanovna Tsvetaeva (1892-1941) as a poet is associated primarily with the Moscow Symbolists. The first collection of poetry "Evening Album" with the subtitle "Childhood - Love -

Contemporaneous witnesses say From the huge number of evidences about the struggle of the Cossacks during the Civil War, which can be found, for example, on the pages of Don newspapers and magazines of those years, we have selected only a few. They relate to the most important for our research