"I will win you back from all lands, from all heavens ..." M. Tsvetaeva

I will win you back from all lands, from all heavens,
Because the forest is my cradle, and the grave is the forest,
Because I stand on the ground with only one foot,
Because I will sing about you - like no one else.

I will win you back from all times, from all nights,
All golden banners, all swords,
I'll throw the keys down and drive the dogs off the porch -
Because in the earthly night I am more faithful than a dog.

I will win you back from all the others - from the one, the one,
You won't be anybody's fiancé, I will be nobody's wife,
And in the last argument I will take you - shut up! -
The one with whom Jacob stood in the night.

But until I cross your fingers on your chest -
O curse! - you remain - you:
Your two wings aimed at the ether -
Because the world is your cradle, and the grave is the world!

Analysis of the poem "I will win you back from all lands, from all heavens ..." Tsvetaeva

The poem "I will win you back from all lands, from all heavens ..." (1916) is one of the most vivid expressions of female love in poetry. Tsvetaeva was able to describe this boundless feeling with great power and expressiveness. The poet was often criticized for such an immoderate expression of love, citing the fact that only a man in love is capable of such a feeling. Of course, the criticism was masculine. Tsvetaeva's work simply did not fit into the traditional ideas of love with the absolute superiority of the masculine principle. Researchers believe that the poetess is polemicizing with Blok's Don Juan. Some lines of the poem are an explicit dialogue with the lyric hero of Blok.

Tsvetaeva immediately declares her full right to her beloved. This right was given to her from above as a merit for her great love. The poetess claims that this feeling allows her to rule over the whole world, freeing her from physical dependence ("I stand on the ground - with only one foot"). Under the influence of love, the heroine is even able to control time and space at will. She hints that she will find and take possession of her beloved in any historical era on earth and in heaven. No one can hold or stop her. If another woman stands in the way of the heroine, then she will break the earthly laws and enter into a "final dispute" with God himself. Tsvetaeva does not even give the man the right to choose ("shut up!"). She is confident that she can win the sacred duel.

In the last stanza, the heroine warns that her last resort will be to kill her beloved, after which their souls will merge forever. She bitterly admits that a man is too much attached to earthly existence. The poet uses antithesis to show the difference between the two. The "cradle and grave" of a man is the earthly world, while its beginning and end is the forest, symbolizing a free life without any restrictions (perhaps this refers to the ancient Greek goddess Artemis). The murder of a beloved will become just his physical death, which will remove the earthly shackles from him and allow him to be reborn in a new spiritual guise.

Tsvetaeva's poem became a symbol of boundless female love, sweeping away all obstacles and laws on its way. Few poetesses have succeeded in expressing their feelings to the same extent and shaking the indestructible dominance of male love lyrics.

Analysis of the poem

"I will win you back from all lands, from all heavens ..." Tsvetaeva (1)

Analysis of M. Tsvetaeva's poem "I'll win you back ..." (paths, figures of speech) and got the best answer

Answer from ADD [guru]
In the poetry of MI Tsvetaeva, there is not even a trace of peace, tranquility. She is all in a storm, in a whirlwind movement, in action and deed. Tsvetaeva understood any feeling only as an active action. No wonder her love is always a "fatal duel": "I will win you back from all times, from all nights, / From all golden banners, from all swords ..,". Her love lyrics, like all poetry, are loud, violent. Such poems sharply contradicted all the traditions of female lyrics. In the poem I have chosen, Tsvetaeva reveals the credo of her life: to fight for everything that is dear, beloved, not to give up before any difficulty or obstacle. It seems to me that she had enough strength for this, because she clearly saw the goal in front of her, firmly knew that she was doing the right thing, making the only right decision and there could be no other way.
In the poem, the poet's appeal to the whole world is especially pronounced, an exclamation, a cry, sharply violating the usual harmony, due to the extremely sincere manifestation of the feelings that overwhelmed her. On the one hand, Tsvetaeva's lyrics are the lyrics of loneliness, detachment from the world, but at the same time, it is an expression of endless longing for people, for human warmth. The contradictoriness of Tsvetaeva's poetic world was also in the fact that her rejection of everyday life drew her beyond the brink of everyday life, and the enthusiastic feeling of every moment of human existence forced her to passionately surrender to the burning of life.
Metaphorical images of golden banners and swords are associated with the theme of the battle of the lyrical heroine for her love, both with friends and with enemies. No war can stop it. The second stanza emphasizes that the heroine is confident of her victory precisely in her earthly life (“Because in the earthly night I am more faithful than a dog”). However, in the name of love, she is ready to enter into an argument even with God:
A distinctive feature of Tsvetaeva's poetic texts is their construction on one highlighted word. So, in the poem “I will win you back from all lands, from all heavens. "The key word is" win back. " The verb is used in the form of the future tense, but in its arguments it relies on the confidence of the present (“I will win you back ... because I am standing on the ground ...). The elliptically constructed sentence - "Because the forest is my cradle, and the grave is the forest" - also contains an affirmative intonation, which is read after the missing verbs "is". The order is categorical: “shut up! "- reveals in the heroine the imperious character, but the more tragic it sounds:" Oh, curse! - you stay - you ... ". Moreover, the form of the verb "stay" reflects the duration of the action in time, something inevitable, with which the heroine will have to come to terms. But humility is possible only after the “last argument”, and as long as a woman stands at least “with one foot” on the ground, until she crosses “fingers on her chest,” she will fight for her happiness with her beloved:
The theme of death was interpreted by Tsvetaeva in the traditions of decadent poetry of the "Silver Age", but we feel the poet's irrepressible love, passion for life. This is read in the sharpness of the rhythm, the impetuousness of the syntax of the poem, the expressiveness of oppositions ("Because the world is your cradle, and the grave is the world!").
We are struck by the bookish romanticism of the poem, but at the same time, the bright aphoristic expression of feelings and thoughts creates an amazing sense of the reality of what is happening. Before us is not just the dreams of the lyrical heroine, but her living soul, full of emotions The colloquial intonations of the text are combined with high solemn vocabulary ("I will throw the keys and drive the dogs from the porch ..." - "Your two wings, aimed at the air ..." ). Such contrasts of lexical series convey the diversity of the inner world of the lyrical heroine, in whose soul refined romanticism and intense drama of human feelings are combined.
The poem embodied the most remarkable features of Tsvetaev's poetry, activity and confidence that life is worth overcoming any obstacles, and on the other hand, the extreme vulnerability of the lyric heroine's heart, etc.

“I will win you back from all lands, from all heavens ...” is one of Tsvetaeva's most famous poems dedicated to love. In it, the poetess described a powerful avalanche of feelings - boundless, capable of demolishing everything in its path. Someone will think that the lyrical heroine of the work behaves too boldly, too masculine. They say, this is not a woman's business, so openly confess your love. This opinion is wrong. In the lyrics of Marina Ivanovna, the nature is one hundred percent female, simply not the same as, for example, Akhmatova's. Russian religious

and the political philosopher Nikolai Berdyaev wrote that feminine nature is prone to "obsession". The fair sex "is often a genius in love", investing in her the fullness of her nature. But a man under such a strong onslaught is not able to withstand. He cannot fulfill the immeasurable claims of female love. And therein lies an eternal tragedy. Somewhat similar thoughts are found in the French writer Flaubert. In his opinion, a truly loving man is shy, but a truly loving woman acts. Tsvetaeva's poem perfectly illustrates Berdyaev's statements

and Flaubert.

From the first collections, Marina Ivanovna began to conduct a creative dialogue with Blok. The poetess's lyrics reflected a variety of his motives and artistic principles. The work "I will win you back from all lands, from all heavens ...", written in August 1916, is a continuation of this original dialogue. The image of a man in the poem is a clear reference to the lyrical self of Blok and his Don Juan. At Tsvetaeva: "You will not be anybody's fiance, I will be nobody's wife ...". The poet clearly relies on the lines from the cycle "Carmen": "No, never mine, and you will not be anyone's ...". There is one more intersection. Marina Ivanovna writes: "But until you cross your fingers on your chest ...". In Blok's “Commander's Footsteps” we read: “Donna Anna is sleeping with her arms folded on her heart…”. At the same time, Tsvetaeva again manifests a change of roles characteristic of her work: the heroine, willingly or unwillingly, kills her lover, and not vice versa. According to Marina Ivanovna, love is not the merging of two souls into one, but death-birth.

The poem "I will win you back from all lands, from all heavens ..." contains religious symbolism. In the third quatrain, Tsvetaeva mentions Jacob, the hero of the Pentateuch. The most famous story associated with this character is his fight with God. It is believed that during the night vigil the Lord appeared to him in the form of an angel. Jacob fought with him until dawn, demanding a blessing. In the end, he was rewarded for his zeal. Jacob received not only a blessing, but also a new name - Israel. In the struggle for her beloved, the lyrical heroine of Tsvetaeva truly knows no boundaries, she is not afraid of any obstacles:
... And in the last dispute I will take you - shut up! -
The one with whom Jacob stood in the night.
If it is necessary to take a man away from God himself, she will not be afraid, she will stand. It is noteworthy that the beloved in the last stanza is indirectly compared with an angel: “… Your two wings, aimed at the ether…”.

Russian composers often created wonderful songs based on Tsvetaeva's poems. Mikael Tariverdiev, Mark Minkov, Andrei Petrov, Vladimir Kalle addressed the poet's work at different times. The compositions were performed by the best artists - Alla Pugacheva, Tamara Gverdtsiteli, Polina Agureeva, Irina Mazurkevich, Elena Frolova, Yulia Kogan. The poem "I will win you back from all lands, from all heavens ..." also became a song. The music was written by Igor Krutoy. The most famous version belongs to Irina Allegrova.

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2. In the poetry of MI Tsvetaeva, there is not even a trace of peace, tranquility. She is all in a storm, in a whirlwind movement, in action and deed. Tsvetaeva understood every feeling ...
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Increasingly, sonic immersions are still filled with creativity. "Living with its daily bread" makes sound focusing a rare vent between kitchen and laundry. Konstantin Rodzevich is a sudden and brief gift of fate. Seven days of urethral passion and the timelessness of sound emptiness. The birth of a son.

The years of obscurity are over. Sergei Efron is alive and waiting for a meeting. Life in exile alienates spouses from each other. Sergei is busy with himself, Marina - with everyone. Increasingly, sonic immersions are still filled with creativity. "Living with its daily bread" makes sound focusing a rare vent between kitchen and laundry. Konstantin Rodzevich is a sudden and brief gift of fate. Seven days of urethral passion and the timelessness of sound emptiness. The birth of a son.

"I think about him day and night, if I knew that I was alive, I would be completely happy ..."(from a letter to Tsvetaeva's sister). Sometimes it seemed to her that everyone around had long known about the death of her husband, only they did not dare to speak. Marina sank deeper and deeper into depression, where only one thing saved from a complete fall - poetry.

Everything is cooler, everything is cooler

Wring your hands!

There are no miles between us

Earthly,- parting ways

Heavenly rivers, azure lands,

Where is my friend forever already-

Inalienable.

The cycle of poems "Separations" is dedicated to Sergei Efron, in fact, Marina is preparing for separation from life. This is not the first time that sound concentration on the Word saved Tsvetaeva from a fatal step. Several months of relentless concentration on the fate of her husband, several months of raising verse prayers have borne fruit. Marina received a letter from Sergei. He is alive, he is in Constantinople: "I live by faith in our meeting ..." Tsvetaeva is going to leave Russia, from the "khan's polon", where "on a fresh dance of food on the bloodworm."

For all the bitterness against the new government, parting with Russia and Moscow is not easy for Tsvetaeva: “I'm not afraid of hunger, I'm not afraid of the cold - dependence. Here, torn shoes are a misfortune or valor, there is a shame ... ”The absence in the European mentality of a spiritual search for sound, with which the life of Russia is inextricably linked, was the main reason for the torment of the first wave of emigrants. European cutaneous pragmatism is counterintuitive.

Very soon Russian emigrants understand: they will not be able to live like in Russia. They are comforted that this is not for long. They are trying to influence the fate of Russia from abroad, but this is utopia. Payback for participation in anti-communist organizations overtakes inevitably, trying to clumsily cooperate with the Land of the Soviets are not destroyed immediately, first they must benefit the new Russia. From each according to his ability - to each according to his merits.

The hour of landless brotherhoods, the hour of world orphans (M. Ts.)

Tsvetaeva arrives in Berlin in the spring of 1922. The first significant and very symbolic meeting here is Andrei Bely, who has completely lost "the remnants of earthly gravity and balance." Marina is immediately imbued with the plight of the poet, and not so much his material failure as his spiritual loss. Everything in Berlin is alien to the Russian soul, the skin landscape for a person with a urethral mentality, and even with such a powerful sound as Bely's, is a barracks.

The poet is completely disoriented in space, he wanders aimlessly around the city in an absurd headscarf and looks completely sick. Like a small child, Andrei Bely rushed towards Marina, she supports him, regretting that she cannot give more, in response to his lines: "Sweet news that there is some kind of homeland, and that nothing has perished." And here Tsvetaeva gave up to a lack, with her urethrality she revealed a piece of her homeland, filled the voids of sound with her verses.

And now the long-awaited meeting with Sergei Efron and moving to Czechoslovakia. Sergei is still engulfed in the "white idea", but the pathos is gradually fading away. Other tasks face Sergei Yakovlevich, for the first time he must provide for his family himself. However, in his thoughts he has studies, some literary projects, the Efrons live on the allowance and rare fees of Marina. The life of the couple is far from idyllic, for four years of separation, both have changed too much, there are no more enthusiastic children of Marina and Seryozha on the Koktebel beach. They are more and more apart.

But close together

Even the joy of the mornings

Pushing off with my forehead

And leaning inside

(For the wanderer is a Spirit

and goes alone) ...

Sergei is seething with mostly completely empty editorial activities, Marina spends her days as a hermit, nursing sound deficiencies in the mountains. "No land can be opened together" ... The quiet life of a housewife is not for her, she compares such a life with a cradle and a coffin, "and I have never been either a baby or a dead man." Marina is deeply aware of her responsibility for Sergei, but her ardent nature is not satisfied with the parallel existence of people weaned from each other.

Passion weakens, and again the poet goes into sound, into poetry. Tsvetaeva begins the poem "Well done", conducts an interesting correspondence with BL Pasternak, her sonic brother. Pasternak complains that it's hard for him, to which Marina advises to start a big thing: "You won't need anyone and nothing ... You will be terribly free ... creativity is the best medicine for all life's troubles!"

Boris Pasternak later admitted that the novel Doctor Zhivago was part of his debt to Marina Tsvetaeva. Much in the line of Yura and Lara from their correspondence. Marina passionately desires a meeting with Boris Leonidovich, but he is too indecisive to share this "need" of her. To regret that he missed then "from Tsvetaeva herself", Pasternak will be much later. Feeling his guilt before Marina, he will help her daughter Ariadne in the hard times of prison ordeals and after.

And then, in 1923, Tsvetaeva was deeply worried about the impossibility of meeting such her, such a sonic Pasternak. Fleeing from a complete failure into the emptiness of loneliness, she writes poetry, writes out her pain, throwing new and new amazing poems into the insatiable sound womb: "Wires", "Hour of the Soul", "Sink", "Poem of the Mountain" ...

My name is gone

Lost ... all the veils

Taking off - grew out of losses! -

So once upon a reed

Daughter bowed like a basket

Egyptian ...

I told you: there is - Soul. You told me: there is - Life (M. Ts.)

And again, in the darkest time that happens before dawn, a new passion bursts into Marina's life - Konstantin Rodzevich. Very earthly, without any sound "cutoffs", without the slightest idea of ​​poetry, strong, passed through the fire and water of the civil war, visited both the Reds and the Whites, pardoned by Slashchev-Krymsky himself (the prototype of Khludov in the play by M. A. Bulgakov " Running "), Rodzevich fell in love in Marina not with the heights of the mountains, but with a living, earthly woman.

Everyone who had met Marina before obeyed her, retreating in front of her urethral will. Rodzevich did not back down. He said, "You can do anything." But, admiring, he remained himself. The love of the urethral Tsar Maiden and the gentle skin-visual prince gave way to the passion of equal men and women in the urethra. Seven days were given to them, but these days Marina and Konstantin seemed to have lived several lives. "You are the first Harlequin in a life in which Pierrot cannot be counted, for the first time I want to take, not give,"- she writes to Constantine. “You are my first POST (from the hosts). Move away - rush! You are Life! "

Sergei Efron learns about this passion by chance. At first he does not believe, then he is depressed and torn by jealousy. In a letter to M. Voloshin, he complains about "little Casanova" (Radzevich is not tall, it's true) and asks to guide him on the right path, Efron himself cannot make decisions. Without Marina, his life loses all meaning, but he cannot continue to live with her under the same roof.

For Marina, Sergey's awareness is a terrible tragedy. She tears away from herself Rodzevich, as they say, with meat, passionately desiring him, and mutually. But Konstantin will survive without Marina, and Sergei will not. Her choice is obvious. As for Efron, he will soon adapt to the situation and even maintain friendly relations with Rodzevich. Marina, on the other hand, will lose her footing for a long time, complete apathy again seizes her, where aversion to poetry and books is hopelessness itself. And yet she writes The Poem of the End, a love hymn to Rodzevich.

Love is flesh and blood.
Color, watered with its own blood.
Do you think love is
Chatting across the table?

Hours - and home?
How are those gentlemen and ladies?
Love means ...
- Temple?
Child, replace with a scar ...

Marina's tragic impossibility to "leave S." ended this amazing relationship. Tsvetaeva and Efron stayed together, and on February 1, 1925, Georgy (Moore) was born, according to Sergei Efron, “Little Marine Tsvetaev”. There is an amazing photo where Konstantin Rodzevich, Sergei Efron and Moore are captured together. Rodzevich put both hands on the boy's shoulders, Efron's hands behind his back.

I'm not afraid to be outside of Russia. I carry Russia in myself, in my blood (M. Ts.)

With the birth of a son, the Tsvetaeva family moved to Paris. Life here for Marina is both successful and incredibly difficult. Marina's triumph as a writer brought her not only fame and fees, quite modest, by the way, but also envious, ill-wishers, hidden and explicit. Among the Russian emigration, a split between conservatives and Eurasians was ripening. Conservatives (I. Bunin, Z. Gippius, etc.) are irreconcilable to the changes in the new Russia, they hate the Council of Deputies with fierce hatred, the Eurasians (N. Trubetskoy, L. Shestov, etc.) think about the future of Russia with the hope for the best for her. Enough of the indiscriminate accusation, let Russia have what it wants.

Marina was least able to use her success as a poet. She did not think about the material benefits from this. Instead of consolidating the triumph in France, thinking about publishing, for example, a book, she writes the article "The Poet on Criticism", where with her usual directness she declares: a critic who has not understood the work has no right to judge him. Tsvetaeva called for separating politics from poetry, accusing critics of a bias towards the work of Yesenin and Pasternak.

Yesenin, like Mayakovsky later, Tsvetaeva recognized immediately and unconditionally for the equality of properties. This infuriated many in exile. Anal critics and writers looking into the past could not accept the new poetic style of the new country. For Tsvetaeva, this novelty was organic, she could not help but feel: the urethral power came to Russia, no matter how bloody it was. Hence the poetry to Mayakovsky.

Above crosses and trumpets

Baptized in fire and smoke

Archangel Toughsfoot -

Great, Vladimir for centuries!

He is a carter, and he is a horse,

He's a whim, and he's right.

He sighed, spat into his palm:

- Hold on, lorry glory!

Singer of public wonders -

Great, proud man grimy,

That a stone is a heavyweight

Chosen without being seduced by a diamond.

Great cobblestone thunder!

Yawned, saluted - and again

Shaft rowing - with a wing

Archangel dray.

So praising the "singer of the revolution" could only be due to the equality of the properties of the mental unconscious, which are stronger than the awareness of oneself as the wife of a white officer. Human creation is often higher than the personality of the creator. So the works of I. Bunin are much more truthful and more interesting than himself. We do not live - they live by us.

Tsvetaeva was keenly interested in poets equal to her in the properties of the psychic. Her poems to Pushkin are perhaps the most beautiful of everything dedicated to the poet, because the most faithful, written from within a kindred spirit. Only the “equal vector” poet could understand the deep essence of the poet in this way.

Scourge of gendarmes, god of students,

Bile of husbands, delight of wives,

Pushkin as a monument?

A stone guest? - he,

Pigtooth, impudent

Pushkin as the Commander?

Tsvetaeva's poems by this time were becoming more and more sound, there was no trace of youthful visual transparency. Each line - a deep meaning, to understand it, you need to work. Critics are offended and offended by Marina's article: cheeky, deliberate! "You can't live with a temperature of 39 degrees all the time!"

Respectable anal sexes cannot understand that urethrality is “another organic matter that has all the rights to artistic embodiment” (I. Kudrova). In the urethra of 39 degrees, the temperature is quite "normal", as well as the absence of the concept of what is permitted and what is not permitted. The anal obstinates did not leave any possibility of dialogue, the collection "Versts" with the poems of Yesenin, Pasternak and Tsvetaeva was branded as creating "defective people", Pasternak's poems were not poetry at all, Tsvetaeva's "Poem of the Mountain" was obscenity. The more you resent your backwardness from life, the more cruelty there is in the anal vector. And although all these emissions did not touch Tsvetaev, she managed to become unwanted in the influential literary circles of the emigration in the very first year in Paris.

I absolutely don't care where to be completely lonely ... (M. Ts.)

Since 1917, Tsvetaeva stoically dragged the whole load of household chores on herself, the hated life obscured her world, but she coped, there were still performances that provided, albeit a small help to the budget, meager receipts from publications.

If we consider this state of the urethral-sound woman from the point of view of systemic knowledge, one can come closer to understanding the whole unbearable stagnation of the poet in the “everyday word-for-word”. Communication is reduced to a minimum, a narrow circle of readers in Europe, according to Tsvetaeva, is all in a reduced form in comparison with Russia: not halls, but salts, not offensive speeches, but chamber evenings. And this is for the urethral sweep of her soul, for the sonic infinity of the search, for the organic need for her flock, brought here in France to her son and husband, but even they are already separate from her, the young daughter lives her own life.

In Marina's memory, the overcrowded halls of the Polytechnic are still alive, where she, in felt boots and a turned coat, “closely, that is, honestly” belted with a cadet's belt, threw lines from “Swan Camp” into the red hall, her white swan song, where she was answered with delight, not going into party strife. The rapture in battle gave Tsvetaeva that terrible time in Moscow. With sound meanings, complementary to Russia, she united the winners and the vanquished into one flock.

In Europe, the urethral-sound leader-poet Marina Tsvetaeva cleans pots, cooks porridge, goes to the market, raises a son, and quarrels with her husband and daughter. In the noise and fumes of "edalny" there is no way to concentrate in sound. Nobody needs it here, there is no realization. A leader without a pack on an alien landscape with no hope of returning: nowhere.

Homesickness! For a long time

Trouble Unveiled!

I don't care at all -

Where completely lonely

Be on what stones to go home

Stroll with the bazaar wallet

Into the house, and not knowing what is mine,

Like a hospital or a barracks.

I don't care which among

Faces bristle captive

Leo, from what human environment

To be displaced - certainly -

Into oneself, into one-man feelings.

Kamchatka bear without ice floe

Where not to get along (and I'm not trying!),

Where to humiliate - I am one.

Trying once again to pull herself out of the swamp of routine by her hair, Marina again turns to Pushkin, this time in the prose "Pushkin and Pugachev". It is no coincidence that Tsvetaeva chooses this theme from the entire Pushkin legacy. The theme of "evil deeds and a pure heart", the eternal theme of mixing opposites in the Russian mentality, is, according to Marina Tsvetaeva, a great seductive force, which is pointless to resist. Concentrated reflection on the root cause and consequences of such confusion is the spiritual sound search for the key to the laws of being.

Despite the dire financial situation, the refusal of the publishing houses to print the scandalous Tsvetaeva and Sergei's stubborn unwillingness to earn anything else besides what he liked, Marina did not have any thoughts of returning to her homeland: "They will bury me there." This was clear to Tsvetaeva. But she no longer had the strength to resist the passionate desire of Sergei and the children to return to the USSR. Marina is increasingly sound depressed.

Proofreader: Natalia Konovalova