By Alyssa W. Dinega
Russian poet Marina Tsvetaeva's robust poetic voice and her tragic existence have usually triggered literary commentators to regard her as both a martyr or a monster. Born in Russia in 1892, she emigrated to Europe in 1922, lower back on the peak of the Stalinist Terror, and devoted suicide in 1941. This paintings specializes in her poetry, rediscovering her as a significant philosopher with a coherent creative and philosophical imaginative and prescient.
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Additional resources for A Russian Psyche: The Poetic Mind of Marina Tsvetaeva
Finally, in ‘‘The Drum,’’ Tsvetaeva’s relationship to Derzhavin is analogous to Derzhavin’s relationship to Suvorov in ‘‘The Bullﬁnch’’; in both poems, the poet stakes out his or her poetic territory on the grave of an admired forebear. ’’ (The actual lines are ‘‘Enough of singing military songs, ﬁnch! Martial music is not pleasing today, from everywhere is heard the lyre’s languid moan’’ [Polno pet' pesniu voennu, snigir'! ) Tsvetaeva counters the insigniﬁcance of the droning ﬁnch’s/reed pipe’s song with her own unique drumbeat.
17 For the earthbound mothers described, these words have a purely geographical signiﬁcance, and a most inexact one at that; there is no inkling whatsoever of a higher plane of reference in these women’s existence. For all that the women are lacking in metaphysical imagination, however, they do possess another kind of riches to which Tsvetaeva is not privy: an easy, conspiratorial sisterhood, as their senseless whispering indicates: ‘‘And the mothers whisper, like tender sisters: ‘Can you imagine, my son—’...
For all that the women are lacking in metaphysical imagination, however, they do possess another kind of riches to which Tsvetaeva is not privy: an easy, conspiratorial sisterhood, as their senseless whispering indicates: ‘‘And the mothers whisper, like tender sisters: ‘Can you imagine, my son—’... ‘You don’t say! ’’ She captures the mothers’ doting intonations in an impressionistic shorthand; by this means, she indicates simultaneously the mothers’ communion with one another—they speak in a kind of code—and the repetitive, proﬂigate emptiness of their conversations (their words are, in fact, pure intonation, pure emotion and possess neither form nor content), further emphasized, once again, by the two ellipses.
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