By Alyssa W. Dinega
Russian poet Marina Tsvetaeva's robust poetic voice and her tragic existence have frequently brought on 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 major philosopher with a coherent inventive and philosophical imaginative and prescient.
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Extra info for A Russian Psyche: The Poetic Mind of Marina Tsvetaeva
This dialectic between loneliness and love quite possibly lies at the root of all the others, insomuch as it provides the impetus throughout Tsvetaeva’s life for her constant reevaluation of her stance as a poet with respect both to humanity and to Poetry as a whole—and, therefore, continual inspiration for and obligation toward her poems. It is important to emphasize that the problem of alterity that is central to this study is not simply an arbitrarily selected theoretical tool, but is, periodically, the subject of Tsvetaeva’s own explicit scrutiny.
Moreover, in envisioning herself Walking the Poetic Tightrope 23 as the energetic, degendered herald of poetry, she not only ﬁnds a way to surpass her femininity and enter the ranks of the great poets, but she ingeniously repositions herself at the very forefront of creative endeavor. From the poem’s ﬁrst lines, Tsvetaeva rejects unambiguously, even caustically, the very core of ‘‘female happiness’’ (motherhood: rocking the cradle) that in earlier poems ﬁlled her with torments of longing and jealousy: В майское утро качать колыбель?
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.
A Russian Psyche: The Poetic Mind of Marina Tsvetaeva by Alyssa W. Dinega