Marina Tsvetaeva. Evening album. Poetry.
Childhood. - Love. - Only shadows. MOSCOW, - 1910
[Dedication.]
I dedicate this book to the brilliant
in memory of Maria Bashkirtseva.
Tsvetaeva M. I. Poems and poems: In 5 vols. T. 1. N.–Y., 1980. C. 3.
Tsvetaeva M. I. Poems and Poems. L., 1990. C. 39.
Tsvetaeva M. I. Collected works: In 7 vols. T. 1. M., 1994. C. 52.
COMMENT
Tsvetaeva M. I. Poems and poems: In 5 volumes. T. 1. Poems 1908-1916 / Comp. and prepare. text by A. Sumerkin. Foreword I. Brodsky. Comment. A. Sumerkina and V. Schweitzer. N.–Y., 1980–1990.
Dedication. Among the hobbies of young Tsvetaeva, a special place is occupied by Maria Bashkirtseva (1860-1884), a Russian artist and memoirist who died early, who lived in Paris. Tsvetaeva read her Diary and even entered into correspondence with her mother (ACV, 359). See also Tsvetaeva's letter to V. Rozanov dated March 7, 1914: “... I love Maria Bashkirtseva madly, with mad love. For two whole years I lived longing for her. She is as alive to me as I am myself” (NP, 22). Tsvetaeva intended to title her third book "Maria Bashkirtseva".
Meeting. The mood of the poem echoes the memories of the death of Nadya Ilovayskaya, one of the heroines of Tsvetaeva's short story "The House at the Old Pimen" (IP-2, 238).
A. Sumerkin, p. 280.
ACV - Anastasia Tsvetaeva. Memories. Ed. second, added. M., " Soviet writer”, 1974. NP - M. Tsvetaeva. Unpublished letters. Under the general editorship. prof. G. Struve and N. Struve. Paris, YMCA-Press, 1972. IP2 - M. Tsvetaeva. Selected prose in two volumes. Comp. and preparation of the text by A. Sumerkin. T. 2. N. Y., "Russika", 1979.
Tsvetaeva M. I. Poems and Poems / Entry. Art., comp., preparation. text and notes. E. B. Korkina. L., 1990.
1. VA. The dedication sonnet is addressed to the image of Maria Bashkirtseva. Bashkirtseva Maria Konstantinovna (1860-1884) - Russian artist, author of the famous "Diary" ("Journal de Marie Bashkirtseff". 1887; Russian ed. 1893), revealing inner world richly gifted artistic nature.
E. B. Korkina, p. 698.
VA - Tsvetaeva M. Evening album. M., 1910.
Tsvetaeva M. I. Books of poems / Compiled, commentary, article by T. A. Gorkova. M., 2004.
P. 7. Meeting.Maria Bashkirtseva. – Bashkirtseva Maria Konstantinovna (1860-1884) - artist, author of the "Diary" (Paris, 1887; Russian translation of St. Petersburg, 1892), which caused stormy conflicting reviews. N. Mikhailovsky sharply criticized the book, L. Tolstoy noted the artificiality of the diary, A.P. Chekhov called it "nonsense." However, many, such as V. Bryusov, accepted the book. He wrote in his diary: “This is me, with all my thoughts, beliefs and dreams” (Diary, M., 1925, p. 5). In the "Diary" M. Bashkirtseva gave "not so much a self-portrait as the anatomy of her nature - very brave, extracting from the depths of her soul everything or almost everything that lies at the very bottom. By this exposure to the bottom, she attracts and repels, perhaps more repulsing than attractive, only when the absoluteness of death begins to clearly emerge behind the words, and then abruptly breaks the tense thread of the narrative, deep sadness takes possession of us, who, at her request, have become witnesses of some happy and tragic fate"(Diary of Maria Bashkirtseva. Selected pages / Compiled, prepared text and introductory article by A. E. Basmanov. P. 7). Apparently, these qualities of the diary aroused the interest of M. Tsvetaeva, her youthful passion for M. Bashkirtseva was very long and deep. In addition to the book "Evening Album" (1910), Tsvetaeva dedicated to her the poem "He approached, winged ..." (1912), with which she opened the book "Youthful Poems", and also intended to release the collection "Maria Bashkirtseva" (see about this in the article) . Anemone- a flower of the buttercup family.
Bibliography: Marina Tsvetaeva. = Bibliographie des œuvres de Marina Tsvetaeva / Comp. T. Gladkova, L. Mnukhin; intro. V. Losskoy. M.; Paris, 1993.
| Meeting (Evening smoke arose over the city ...) |
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Page 604
1 - EVENING ALBUM. Poetry. Childhood - Love - Only shadows. - Moscow, Tov. type of. A. I. Mamontova, 1910, 225 p.
Id.- Paris, LEV, 1980, 238 p.
Id.- Moscow, Book, 1988, 232 p. (Reimpr.)
Page 21
POEMS AND POEMS: In 5 volumes. - New York, Russian Publishers Inc., 1980-1983, t. 1-4.
Page 87
55 - COLLECTION OF POEMS, POEMS AND DRAMATIC WORKS IN 3 VOLUMES. Introductory article
A. A. Saakyants. Compilation and preparation of the text by A. A. Saakyants and L. A. Mnukhina. Volume I. Poems and poems 1910-1920. - Moscow, Prometheus, 1990, 655 rubles.
Page 250
56 -POEMS AND POEMS. Introductory article, drafting and preparation of the text and notes
E. B. Korkina. - Leningrad, Soviet writer, 1990, 800 rubles. (Library of the poet. Large series.)
Page 267
91 - BRIEFE AN BACHRACH UND AUSGEWAHLTE GEDICHTE. Ausgewaählt und übertragen von Irmgard Wille. Herausgegeben von
Siegfried Heinrichs. - Berlin, Oberbaum Verlag GmbH, 1989, 305 p.
Page 319
261 - RUSSIAN SONNET. Sonnets of Russian poets of the 18th - early 20th centuries. Comp. B. Romanov. - Moscow, Soviet Russia, 1983, 512 r
RUSSIAN SONNET. XVIII - early XX century. Comp. V. S. Sovalin and L. O. Velikanova. - Moscow, Moscow worker, 1983, 557 rubles.
(Single volumes of classical literature)
Page 438
278 - PLEIADS. Sonnets of Russian poets. Comp. L. V. Osipov. - Stavropol, book publishing house, 1986, 222 rubles.
Page 442
SONNET OF THE SILVER AGE. Russian sonnet of the late 19th - early 20th century. Comp. O. N. FEDOTOV - Moscow, Pravda, 1990, 768 rubles.
Page 458
NEW RUSSIAN WORD. Daily newspaper, 1910 -. - New York, Gr. fol.
33 - 20 avr. 1980, no. 25145, p. 5.
Page 515
Trad. 91 , 8 Begegnung
Dunst legt sich auf die Stadt…
Shevelenko ID Tsvetaeva's literary path: Ideology-poetics-identity of the author in the context of the epoch. M., 2002.
Among the literary names mentioned in Tsvetaeva's letters of 1908–1910, there is no name of Bashkirtseva. Yes, and in the verses of the "Evening Album"<…>no traces of Bashkirtseva can be found. The exception is the sonnet “Meeting” that opens the collection, structurally adjoining the dedication by its position outside the sections.<…>. The dedication is further "confirmed" by the structure of the collection, imitating a diary: three sections - "Childhood", "Love", "Only shadows" - set the frame in which Tsvetaeva places her "autobiographical narrative".<…>In the memoirs of sister Tsvetaeva, the first mention of the name Bashkirtseva dates back to the beginning of 1910.<…>. In the spring of the same year, according to these memoirs, the Tsvetaev sisters met the artist Levi, who once knew Bashkirtseva in Paris.<…>Everything that happens in the life of an individual can, it turns out, be worthy of the attention of mankind: "... it is always interesting - the life of a woman, recorded day by day, without any show" 2 .<…>the sonnet "Meeting" about the mysterious connection between her and the author of the famous "Diary" was supposed to explain not the choice, but the predestination of such a path.
2 Diary of Maria Bashkirtseva. SPb., 1894. S. 6.
Page 22–24
"MEETING" opens the first book of Tsvetaeva "Evening Album" and together with the dedicatory inscription makes up the section "Dedication" (the name of the section is indicated only in the "Contents"). The dedicatory inscription, in addition to its main function, also serves as an epigraph to the poem, revealing the identity of the second participant in the depicted meeting - Maria Bashkirtseva. Tsvetaeva never reprinted it, so its publication separately from the dedicatory inscription is, to some extent, editorial violence.
Thus, the interpretation of E. B. Korkina (comm. 1) is correct, but the remark of A. Sumerkin (comm. 2) is not without meaning in terms of the generalizing possibilities of the text. This is all the more true since "Meeting" precedes the entire collection, in which the theme of premature death occupies an important place. I. D. Shevelenko (comm. 4) presumably dates it to 1910. It is written in iambic 5-foot and has a sonnet form that is rare for Tsvetaeva (see also “Die stille Strasse…”
Anemone- anemone, anemone, snowdrop.
spelling assumptions. Letters that are not in the modern alphabet are not reproduced (ѣ, ѳ, i, ъ in the corresponding positions). The outdated norms for writing case endings (dark) are not respected.
R. Voitekhovich
"Meeting" is dedicated to the talented artist Maria Bashkirtseva, whom fate gave a very short earthly life. The central image of the work is a ghost girl who appeared to the gaze of the lyrical heroine as if from nowhere. The portrait of the girl was created in Tsvetaeva's style - from separate details (transparent half-childish face, curls). The lyrical heroine is not afraid of the ghost, she is trying to understand the reason for his sadness. She does not succeed, so the text of Tsvetaeva's poem "Meeting" ends with three rhetorical questions. With the help of this technique, the poetess “draws” readers into thoughts.
Verse is taught in the lessons of Russian literature in high school. On our website you can read the verse in full online or download it from the link.
Evening smoke over the city arose,
Somewhere in the distance, wagons dutifully walked,
Suddenly flashed, more transparent than anemones,
In one of the windows there is a half-childish face.
Shadow for centuries. like a crown
There were curls ... I held back a cry:
It became clear to me in that brief moment,
That our moans awaken the dead.
With that girl at the dark window
- A vision of paradise in the hustle and bustle of the station -
More than once I met in the valleys of sleep.
But why was she sad?
What was the transparent silhouette looking for?
Perhaps she - and there is no happiness in the sky?
"Meeting" Marina Tsvetaeva
Evening smoke over the city arose,
Somewhere in the distance, wagons dutifully walked,
Suddenly flashed, more transparent than anemones,
In one of the windows there is a half-childish face.Shadow for centuries. like a crown
There were curls ... I held back a cry:
It became clear to me in that brief moment,
That our moans awaken the dead.With that girl at the dark window
- A vision of paradise in the hustle and bustle of the station -
More than once I met in the valleys of sleep.But why was she sad?
What was the transparent silhouette looking for?
Perhaps she - and there is no happiness in the sky?
Analysis of Tsvetaeva's poem "Meeting"
The work, dated 1907-10, opens the first book of poetry by Tsvetaeva. The special position of the text is due to several reasons, and the first of them is the theme of the memory of the talented artist Bashkirtseva, who died in young age. Her autobiographical prose, which combines childish maturity, emotionality and a growing sense of doom outstanding personality, admired the novice poetess. This passion was reflected in Tsvetaeva's work: the principles of the composition of the collection are close to the structure of diary entries.
The content of the work is devoted to the mystical meeting of the lyrical heroine with the ghost girl. The author designates the external attributes of a chance meeting taking place in the "evening smoke" and bustle of the station: the subject of speech watches a train passing by, and suddenly notices a mysterious "half-childish face" in one of the windows.
Transparency - main feature portrait of a female character. Comparison with an anemone, whose delicate petals flutter even under a light wind, emphasizes the elegance of the appearance, its insecurity, vulnerability. The appearance of the "traveler" is determined by romantic details: shadows around the eyes and curls resembling a crown. Summarizing her impressions, the heroine-observer calls the fragile girl a "vision of paradise", which contrasts with the everyday hustle and bustle of life. The antithesis, modeled by the novice author, evokes in the reader's memory the classic image of Blok's "".
The climax of the lyrical plot is indicated by the violent reaction of the subject of speech, which is succinctly described in the second quatrain. What she sees strikes the heroine so much that it causes an involuntary scream, which she manages to restrain. Along with it comes insight: a connection is established between earthly existence and the world of the departed, whose representatives respond to the “groans” of the living.
Young Tsvetaeva chooses the form of a sonnet for her creation. The image of the flurry of feelings accompanying the mystical discovery, gives traditional form new sound.