Analysis of the poem Tsvetaeva's Motherland. Analysis of the poem “Longing for the Motherland” by Tsvetaeva What literary devices are used by Tsvetaeva’s Motherland

Linguistic analysis of the poem by M.I. Tsvetaeva

"Oh, stubborn tongue!"

The poem was written by Marina Tsvetaeva in 1931, during the period of emigration from Russia during the October Revolution. During this time, from 1922 to 1939, Tsvetaeva wrote several more works about her homeland, the main theme of which was longing for her native land and a feeling of loneliness.

The fact that the poem is imbued with homesickness is directly indicated context synonyms, which the author used to characterize her. Tsvetaeva’s homeland is: Russia, distant lands, foreign lands, pride, “the land of my strife,” fate, as well as the distance. But not just a distance, but such a distance that M. Tsvetaeva describes as follows applications : “innate as pain”, “moving away from me”, “saying: come home”, “removing from all places”, with which she “poured foreheads”.

What is distance in the poem by M.I. Tsvetaeva?

In order to more deeply imagine the author’s position, to more deeply feel the author’s experiences, it is necessary to take a closer look at each of the characteristics of the homeland, especially the definition of it as distant.

a) Innate as pain.

Pain is an integral property of the human body, which is inherent in a person from the moment of his birth. That is, pain is a detail of a living being; it cannot be changed, corrected, or subjugated to your will. And the homeland, as Tsvetaeva compares, is also as much a part of a person as breathing, heartbeat or the feeling of pain. But it is worth noting that the author does not use in his comparison such ordinary properties and functions of the body as heartbeat or breathing. The author chose pain - something that makes a person feel bad and, perhaps, even torments him and does not give him peace.

As V.A. wrote Maslova in her book about Tsvetaeva’s work: “Parting with the territory does not mean for her a break with the Motherland. She often said that her homeland is always with her, inside her.

In response to a questionnaire from the magazine “In Our Own Ways” (Prague, 1925, No. 8-9), Marina Ivanovna wrote: “Russia is not a convention of territory, but the immutability of memory and blood. Not to be in Russia, to forget Russia - only those who think of Russia outside of themselves can be afraid. Whoever has it inside will lose it only with his life.”

b) Moving away from me.

The homeland alienated Marina Ivanovna from the reality in which the poetess lived. Tsvetaeva lost interest in foreign countries and could no longer exist outside of Russia. Because of her thoughts about her homeland, it was difficult for her to perceive the reality around her.

c) Dahl saying: Come home!

Tsvetaeva was always drawn to her homeland, as can be seen not only in this poem, but in several others, also written by the author during the period of emigration. “...She specially dedicated three poems to Russia: “Dawn on the Rails” (1922), “Motherland” (1932), “Search with a Lantern” (1932) ... And when her hour of death approached, she, contrary to the warnings of friends and her own forebodings, , rushed to die in Russia"

d) Dahl, ...

From everyone - to the highest stars -
Taking pictures of me!

In the poetic world of M. Tsvetaeva, the land is rather hostile than close to the lyrical heroine. In a letter to Ariadne Berg, she admitted that her true state was “between heaven and earth” (Tsvetaeva M. Letters to Ariadne Berg, Paris, 1990-p.171)

Even when Tsvetaeva thought about something unearthly (after all, the stars are part of the cosmos), went deep (or, better yet, high) into thought, still thoughts about Russia did not allow her to think calmly. They found her everywhere, no matter how far the poetess’s mind was from everyday thoughts.

f) No wonder, water pigeons,
I hit my forehead with distance.

This is perhaps one of the most difficult lines to analyze in a poem. Let us pay attention to the used form of the comparative degree of the adjective “pigeons”. Water pigeons – i.e. better than water. Perhaps cleaner, colder, more transparent - it is impossible to say for sure what exactly Marina Tsvetaeva had in mind. Douse, according to the dictionary of S.I. Ozhegova means:

« 1. Pour, pour on all sides at once. O. splashes. O. water from a bucket. 2. transfer To embrace, to penetrate. It was (unless) cold. * To shower someone with contempt" . In this context, it becomes clear that we are talking about the first meaning - “to throw water over.”

Thus, we can “translate” this line as follows: Not in vain, better than water, I poured my homeland on my foreheads. Perhaps the author wanted to say exactly what she, thanks to some speeches about Russia, brought other people to consciousness no worse than water when it is poured on their foreheads.

The word "homeland" and its contextual synonyms

As mentioned above, to determine the homeland, Marina Ivanovna Tsvetaeva uses a wide palette of contextual synonyms, namely:

a) Russia

Undoubtedly, Tsvetaeva’s homeland is Russia. Here she was born and spent most of her complex and difficult life. It is connected with Russia by its language and history.

b) Far Away Land

Far away meansvery distant, distant. In the old counting by nines, twenty-seventh.This definition is used specifically in Russian fairy tales:"In the Far Far Away Kingdom..."

It is no coincidence that the poetess makes a reference to Russian folk art (in this case, fairy tales). “M.I. Tsvetaeva is a poet, first of all, of Russian culture with its Russian song element, emotionality and spiritual openness, in particular, at the level of mythological ideas.”

This is reflected in the first line of the poem:

Oh, stubborn tongue!
Why simply - man,
Understand, he sang before me:
“Russia, my homeland!”

The peasant is the personification of the Russian people and reflects their collective national consciousness.

This representation of the “folk” goes hand in hand with Tsvetaeva’s “personal”. In this poem there is an amazing interweaving of folk poetry and personal fullness. Along with references to oral folk art and fairy tales, there is a reference to the Kaluga hill, that is, the Kaluga region, where the poetess spent part of her childhood: “... In the city of Tarusa, Kaluga province, where we lived throughout our childhood” (from a letter to Rozanov;.

c) Foreign land

According to the dictionary Efremova T.F. foreign land - foreign land. Thus, we can say that Tsvetaeva’s homeland combines the opposition “us” - “stranger”, being at the same time what Marina Ivanovna yearns for and what she cannot accept.

d) Pride

Pride, according to the dictionary of D.N. Ushakova , this is exorbitant pride, even arrogance. ( http://dic.academic.ru/dic.nsf/ushakov/781390 ). In the dictionary of synonyms we can find the following words: importance, arrogance, arrogance. And in the dictionary of antonyms - humility. To compare the homeland with pride means to attribute the same meaning to it. The homeland is like something very proud and maybe even impregnable and rebellious.

e) Strife in my land

Discord, quarrel, discord. Most often this noun is used in combination with the adjective internecine: internecine strife. A feud implies a confrontation between the parties. For Marina Ivanovna herself, life is an external conflict with the revolution and an internal conflict with herself, taking place on the territory of Russia.

g) Rock

First of all, rock is destiny. . Homeland is like something inevitable, homeland is like fate. Something that cannot be changed and cannot be avoided. In my opinion, this is precisely what explains why the homeland (distance) is “innate, like pain” and “removes from all places.”

Syntactic and punctuation features

As researchers of Marina Tsvetaeva’s work wrote, “punctuation is a powerful means of expression for her, a feature of the individual author’s idiostyle, and an important means of transmitting semantics. “Punctuation marks began to play a more significant role in her, which was unusual for them before.”

In the poem, as we can see, a large number of dashes are used. This helps to maintain a pause at the right moments, maintain the rhythm and highlight semantic accents. Reading the poem, we understand that there is not just a monotonous and uniform monologue, but a flow of speech in which energy and life are felt. We feel that it is precisely such pauses and precisely such a rhythm that punctuation marks create that help us see Tsvetaeva’s inner thoughts and disputes, her deep experiences. And experiences cannot be expressed in everyday speech or a monotonous rhythm; they are always expressed through sobs, sighs, contradictions, excitement, and they break the rhythm, knock it down and make it closer to real speech. This feeling is reinforced by the abundance of exclamatory sentences.

Also, such liveliness of the poem is expressed through the combination of words in it that belong to different styles. For example, the word mountain [ 9]; [ To sing ; http://dic.academic.ru/dic.nsf/ushakov/922782 ].

In Tsvetaeva’s poetic world, the physical and spiritual worlds, the material world and the intellectual, emotional world, the world of abstract concepts and moral values ​​are organically intertwined. The combination of colloquial forms of words and words of high style, on the one hand, allows you to create an opposition between earth and sky, but, at the same time, it connects all these opposites into one harmonious whole.

So we can do conclusion: When Marina Ivanovna Tsvetaeva talks about the Motherland, we see both the distant land - familiar to every person who has read Russian fairy tales, and the Kaluga hill, which already symbolizes the life of Marina Tsvetaeva herself. Just as in Russia the religious and the common people are combined, so the poem combines bookish, church and colloquial vocabulary. This combination expands the space of perception, adds solemnity to the poem and at the same time the purest sincerity, which is expressed in Tsvetaeva’s restless, intermittent, exciting monologue.

Marina Ivanovna Tsvetaeva

Oh, stubborn tongue!
Why simply - man,
Understand, he sang before me:
“Russia, my homeland!”

But also from the Kaluga hill
She opened up to me -
Far away, distant land!
Foreign land, my homeland!

Distance, born like pain,
So homeland and so -
Rock that is everywhere, throughout
Dahl - I carry all of it with me!

The distance that has moved me closer,
Dahl saying: "Come back
Home!" From everyone - to the highest stars -
Taking pictures of me!

No wonder, water pigeons,
I hit my forehead with distance.

You! I'll lose this hand,
At least two! I'll sign with my lips
On the chopping block: my land is in discord -
Pride, my homeland!

The fate of Marina Tsvetaeva was such that she spent approximately a third of her life abroad. At first she studied in France, learning the wisdom of literature, and after the revolution she emigrated first to Prague, and later to her beloved Paris, where she settled with her children and husband Sergei Efront, a former White Guard officer.

Sergei Efron, Marina Tsvetaeva, son Georgy and daughter Ariadna

The poetess, whose childhood and youth were spent in an intelligent family, where high spiritual values ​​were instilled in children literally from the first years of life, perceived the revolution with horror with its utopian ideas, which later turned into a bloody tragedy for the whole country. Russia in the old and familiar sense ceased to exist for Marina Tsvetaeva, so in 1922, having miraculously obtained permission to emigrate, the poetess was confident that she would forever be able to get rid of nightmares, hunger, an unsettled life and fear for her own life.

However, along with relative prosperity and tranquility came an unbearable longing for the Motherland, which was so exhausting that the poetess literally dreamed of returning to Moscow. Contrary to common sense and reports coming from Russia about the Red Terror, arrests and mass executions of those who were once the flower of the Russian intelligentsia. In 1932, Tsvetaeva wrote a surprisingly poignant and very personal poem “Motherland,” which later played an important role in her fate. When the poetess’s family nevertheless decided to return to Moscow and submitted the appropriate documents to the Soviet embassy, ​​it was the poem “Motherland” that was considered as one of the arguments in favor of the officials making a positive decision. In him they saw not only loyalty to the new government, but also sincere patriotism, which at that time was actively cultivated among all segments of the population without exception. It was thanks to patriotic poems that the Soviet government turned a blind eye to Yesenin’s drunken antics, Blok’s unambiguous hints and Mayakovsky’s criticism, believing that at this stage of the formation of the state it was much more important for the people to support the opinion that the Soviet Union is the best and fairest country in the world.

However, in Tsvetaeva’s poem “Motherland” there was not a single hint of loyalty to the new government, nor was there a single reproach in its direction. This is a work of recollection, permeated with sadness and nostalgia for the past.. Nevertheless, the poetess was ready to forget everything that she had to experience in the post-revolutionary years, since she needed this “distance, distant land,” which, although being her homeland, nevertheless became a foreign land for her.

This work has a rather complex form and cannot be understood from the first reading. The patriotism of the poem lies not in praising Russia as such, but in the fact that Tsvetaeva accepts it in any guise, and is ready to share the fate of her country, asserting: “I will sign with my lips on the chopping block.” Just for what? Not at all for Soviet power, but for pride, which, in spite of everything, Russia has not yet lost, remaining, in spite of everyone and everything, a great and powerful power. It was this quality that was consonant with Tsvetaeva’s character, but even she was able to humble her pride in order to be able to return home. There, where indifference, poverty, ignorance, as well as the arrest and death of her family members, recognized as enemies of the people, awaited her. But even such a development of events could not influence the choice of Tsvetaeva, who wanted to see Russia again not out of idle curiosity, but out of a desire to once again feel part of a huge country, which the poetess could not exchange for personal happiness and well-being, contrary to common sense.

The great poetess Marina Tsvetaeva dedicated many lyrical poems to her native Fatherland. Each of them is imbued with deep love for Russia. One of these charming pearls is the poem “Motherland,” which the poetess created while in exile. In a foreign land, sadness and longing for her native land did not leave Tsvetaeva. The theme of the work is the depiction of the lyrical heroine’s feelings for her homeland.

The main idea is the connection of each individual with his people, with his native land. Tsvetaeva, from the very first lines, focuses on the fact that she

The same as a simple Russian man, because they have a lot in common. The poetess is pleased that she is a part of the great Russian people, who are overwhelmed with a feeling of love for their country.

She also writes about the fact that she is eager to return to her homeland at the call of her heart. This does not depend on her will. But wherever the heroine is, love for her land brings her home. The author is proud of his native country and is always ready to praise it for the rest of his life (“I’ll sign with my lips/On the chopping block”).

The work “Motherland” is a vivid example of patriotic lyrics. The poetry consists of six stanzas. Five of them are quatrains, and the fifth stanza is a distich (two-line).

Rhyming

The poem “Motherland” is adjacent, accented masculine rhyme (emphasis on the last syllable) The meter is iambic tetrameter.

As for artistic techniques and means, they are varied. Tsvetaeva combines incongruous things with the help of an oxymoron (“foreign land, homeland ...”, as well as “distance, distant ... near”). The one beginning (anaphora) is clearly expressed in the fourth stanza. The lexeme “distance” is repeated repeatedly.

At the end of the work, a kind of dialogue takes place between the heroine and her homeland. However, the entire appeal to Russia is expressed by one short, but rather pretentious word-pronoun “you!” He has deep sincere love, he has the feelings of a patriotic man.

Undoubtedly, this poetic work by Tsvetaeva about her homeland is filled with the desire to glorify the land of her ancestors. It so happened that recognition of the poetess in her native country came only after her departure, but this never bothered her, because her love for her native land was deepest, which is why there was so much emotional tension.

Everyone who has imbued with the poetess’s feelings and thoughtfully read the lines of the poem is also filled with a feeling of love for the Motherland and feels a close connection with their people.

Many of Marina Tsvetaeva’s poetic works are devoted to the theme of the Motherland, although she spent most of her life outside of Russia (studying at a French university, emigrating, living in Prague, then in Paris). The poignant and lyrical poem “Motherland,” written by Tsvetaeva in 1932 in the suburbs of Paris, where she lived from hand to mouth with her husband and two children, became one of the bright pearls in her creative heritage. The main theme of this work is the poetess’s feeling of aching longing for her native land and a desperate desire to return home from a foreign land.

Tsvetaeva, who grew up in a family of Moscow intellectuals (her father is a famous professor-philologist at Moscow University, her mother is a pianist, a student of the famous virtuoso pianist and conductor Nikolai Rubinstein), accepted with great distrust and horror the ideas of the new revolutionary government, which turned into blood and terror for the entire Russian people . Post-revolutionary Russia ceases to exist as a Motherland for Tsvetaeva in her old and familiar understanding, and she, having difficulty obtaining permission to leave, goes into exile, first to Prague, then to Paris. Having ceased to fear for her life, having received some stability and a means of livelihood, Tsvetaeva unbearably misses her homeland and, contrary to healthy sense, stories about what is happening in Russia (Red Terror, arrests and executions of former White Guards and their sympathizers, hunger and poverty), she strives to return home and makes every effort to achieve this.

Main theme

In the poem “Motherland,” written in 1932, a red thread runs through the poetess’s thought about the connection of every person with his people and the native land on which he was born and raised. Already the first lines of the work focus the attention of readers on the fact that the lyrical heroine Tsvetaeva is the same as a simple Russian man, they have a lot in common, together they are part of the great and powerful Russian people, which she is immensely happy and proud of this fact.

Tsvetaeva describes her feelings for her homeland and says that she is rushing home at the call of her heart, which is stronger than the voice of her mind. Wherever she is, no matter what distances fate takes her, love for her native land always brings her back: “The distance that says: “Come Home!” From everyone - to the highest stars - She takes me places! Until the last moment of her life, the poetess is ready to praise her Fatherland and is proud that she is her daughter, ready to accept it in any guise and share with her any fate prepared from above: “You! I’ll lose this hand of mine, - At least two! I’ll sign on the chopping block with my lips.”

The poetess describes the torment and torment of the lyrical heroine, suffering from the thought of how far she is from her native places, and what huge obstacles stand in her way to them. The last lines of the work, presented in the form of a dialogue between the poetess and her Fatherland, show the depth and sincerity of her feelings. One short, but very eloquent appeal to Russia “You!”, and then “Pride, my homeland!” they reveal Tsvetaeva’s simple, but at the same time deep feeling of love and respect for her distant Motherland in the best possible way.

Compositional structure, artistic techniques

The poem “Motherland,” which is a striking example of Tsvetaeva’s patriotic lyrics, has six stanzas, the first five are quatrains or quatrains, the last sixth is a two-line distich. It is written in iambic tetrameter using adjacent rhyming techniques and a clear emphasis on masculine rhyme (emphasis on the last syllable). A variety of means and techniques of artistic expression are used: epithets, antitheses, rhetorical appeals. The inconsistency of the heroine’s feelings towards the Motherland is conveyed by the oxymorons “foreign land, my homeland”, “the distance that has made me close”, repeated repetition of the word “distance” (a lexeme), the fourth stanza clearly expresses the anaphora (one principle) of the entire work.

The poem “Motherland” was of great importance in the future fate of the poetess, when she and her family submitted documents to the Embassy of the Soviet Union to return to Russia. It became an additional argument in making a positive decision on their petition, because the official liked the sincere patriotism and loyal attitude to the Bolshevik government that they saw in this work. And this, in the conditions of the formation of the young Soviet state, was very important, because this supported the reputation of the young country of the Soviets as a state where justice and equality triumphed. Although in fact it was written not as a tribute to patriotism or loyalty to the new government, but as a tragic and sad poem-memory of a past life, filled with sad memories and nostalgia.

However, the return of the poetess and her family did not bring them either happiness or peace in the future: her husband Sergei Efron was shot, her daughter Ariadne was arrested and sent into exile for 15 years, her son died at the age of 19 at the front, Tsvetaeva herself tragically passed away .

The poem was written after the October Revolution, in exile, where the poetess left Russia, following her husband. But forced emigration did not bring Tsvetaeva the desired relief: longing for Russia forever connected her with her homeland, which is why, after living abroad for many years, she later decided to return to Russia. It was not just the relationship between the poetess and her own country that developed, but the theme of the homeland is one of the main ones in Tsvetaeva’s poetry. The lyrical heroine is lonely. Isolation from Russia, the tragedy of the emigrant

Existences result in poetry in the opposition of the heroine’s lyrical Russian “I” to everything non-Russian and alien.

The loss of her homeland for M. Tsvetaeva had a tragic significance: she becomes an outcast, a lonely, rejected person. It is in emigration that the theme of the homeland begins to sound in a new way: a feeling of the loss of one’s father’s home, the motive of orphanhood appears. In the poem “Motherland,” the lyrical heroine dreams of returning home and the central idea is the opposition of a foreign land, distance and home: Distance, which has made me close, Distance, saying: “Come Home!” From everyone - to the highest stars - She takes pictures of me! The whole poem

Built on the antithesis, contrast of “Russia, my homeland” and the distance - “far away land”.

Marina Tsvetaeva is characterized by a personal perception of the world; the poetic “I” is inseparable from the image of the lyrical hero. This is confirmed by numerous personal pronouns used in the text of the poem: “before me”, “my homeland”, “I covered my forehead with distance”, “my strife”.

The poetess’s personal perception comes to the fore, so here artistic images are intertwined: Far away - distant land! Foreign land, my homeland! On this page searched for: Marina Tsvetaeva Rodina analysis brief analysis of the poem Tsvetaeva Rodina Marina Tsvetaeva analysis of the poem Rodina analysis of the poem Tsvetaeva Rodina according to plan Rodina

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