Marina Tsvetaeva lived in an absolute which removed him often real. His life was full of hoaxes, dreams, songs that had no grounding in reality. She lived in his poetic vision and ideal things. But
Marina Tsvetaeva has a deep certainty, that of his vocation. It has been isolated, and much criticized. But this solitude which she suffered, she also endured because she thought over the war even though she suffered directly:
"War, war! - Incense and icons -
Spurs chatter
But I nothing to do or the Tsar
Neither quarrels of nations " ( Heaven burns , p. 43)
Eternal different, saw herself as Marina Tsvetaeva. Incredibly proud, the poet was also a free woman, busy building its individual path as a meteorite.
Marina does not seem to want to take part in the agitation of the century although it is inevitably a major influence on his life and creation. Privation, discomfort, the absence of her husband, both critical side " Red "that side" White ", all doomed to the isolation that has complicated the creation while making it possible. This is precisely the tension between this immense lyrical voice and the pressure of history on the intimate gave birth her greatest poems. For the poet is tightrope is its condition, the poet is not a creature of comfort:
"like a rope cracked
I dance - little dancer. " ( The sky burns , p.43)
This rope is first thread on which it attempts to remain in balance throughout her life: juggling with the material and the construction of his work, trying to find its place in any country. But it also cracked the vocal cord: the song of Marina could not be of the same purity, the same unit with the war and the Revolution. It was endangered, threatened from all sides.
Too alive, fearing the congealing, it envisages the death as another life. "Too much" is its extent, as she says herself. Eternity is therefore envisaged that in point of view the most enduring: it is addressed in passing, called for him to look without sadness. After Life, he must still life, only way to make it acceptable eternity, an eternity to him in motion, the only merit it as a poet:
"[...]
No, this is not a grave,
I would not arise, threatening.
I too enjoyed myself
Laugh when he should not.
The blood beat in my time
And my hair curled;
I was too, passerby!
Turning, stop!
[...]
Pluck a wild grass
And then a strawberry -
Matured between graves
It will be sweeter.
But do not lean,
Sad, above me,
Evokes me easily,
Not just forget me! " ( The sky burns , pp. 22-23)
The poet was then shown a lot of freedom while trying to escape, not historical, but the ideological pressures brought to bear on it.
The poem "Don Juan" is a measure of freedom and strength of Marina who loved and wanted without worrying about external looks. She saw his verses with great serious and is considered seriously, because she was deeply idealistic, driven by an unquenchable thirst for the absolute. She had a rigor that is writing a hardness that made him prefer his creation to his daughter (his daughter was still doing chores at home, not going to school sometimes for the mother can find time to write!). This self-centeredness and egotism creative go hand in hand with great pride as evidenced by the audacity of the final verse!
"[...]
And for your eyes
You lanes feminine beauty,
Tonight, Tonight
I'll bring my heart.
From distant lands
You came to me. Your list
is closed, Don Juan " (Second part of" Don Juan " Heaven burns , pp. 67-68) Pending - sleep well! ...
Marina Tsvetayeva is what might be called an extremist for love, speed, poetry. She could have said 'poetry comes first, then morals ", a famous phrase Threepenny Opera (das kommt die Fressen, dann kommt die Moral"). Poetry is food for Marina. She lived pretty bad for the everyday realities that are necessary, that necessity knows no law. However, this was never a reason for her to follow them, and she repeated in her letters how the newspaper was unbearable. She could not bear the daily gnawing all the time. The evening of poetry was no longer measure up to fatigue ... But she baited, as s'acharnent all poets and wrote:
"A fool your world
I say that: refusal " ( Attempted Jealousy, Heaven burning in , p. 202)
A poet in exile in every place, criticized in the name of political ideologies, this can only be a good sign. Hikmet as a poet, yet infused with a powerful ideology, remained an exile in his own country because he saw a poet and therefore further that the simple theories of totalitarian some activists and some politicians. Being a poet makes sense only when there is a gap between politics and writing poetry itself. This is because part poetic remains irreducible to any theory, there are great poets. The poet always escapes, such as Marina has escaped his contemporaries, as it still eludes us today where his lyrics are still too little known in spite of good translations and good French editions.
appetite of this woman was not only immense, but remarkable in that she lived in destitution. His desire, however, remained that of the designer, the one that generates, which varies, which moves freely around the world.
"kiss on the forehead - it erase boredom.
I kiss on the forehead.
Kiss eyes - is killing insomnia.
I kiss your eyes.
Kiss the lips - is to drink.
I kiss your lips.
Kiss on the forehead - is erasing the memory.
I kiss on the forehead. " ( Heaven burns , p. 74)
She loved the renewal, which was moving. She loved so love above all, she lived impossible in perpetual tension. It also identifies several times to Carmen. If you do not love me I love you, and if I love you, beware ... The only engine was the impossible, the desire to attain the unattainable. She was unable to celebrate the earth, the world. The material is its own worst obstacle. And light is that of an idealist:
"God put me alone
the middle of the world;
You're not a woman but bird
So - flies and sings. " ( The sky burns , p. 84) Marina Tsvetaeva
likes to play and its contradictions, one of which is its weakness against strength. In a beautiful text Attempted jealousy, she makes it to the foam as the door if she property by its name "Marina". But the delicacy and fragility of the foam are inseparable from a strength: that of rebirth. Between
suffering, life and smooth, Marina rises and falls again and again:
"From stone are some, others are clay -
Me I flickers, all Argentine!
Betrayal and Marina is my business - my name
I'm fragile sea foam.
Clay are some, others are of flesh -
Together, tombs and gravestones!
- Baptized in the marine section - and in the air
Endless broken, and I fly m'affale.
[...]
against your knees I'm crushed granite And every wave to me - revives!
Cheers foam, the foam gay glory,
live the high sea foam! " ( Attempted jealousy , Heaven burning in , P. 103)
Edition Reference: Heaven burns followed Attempted Jealousy, Marina Tsvetaeva, Gallimard, Zeno Bianu preface, translations of Pierre Leon Malleret and Eve. The postscript for this edition is very comprehensive and very enlightening.
