Creativity M. Tsvetaeva difficult to fit into a certain framework of literary movements. She is always alone, stands alone. The conflict between life and being is very characteristic of the poetess. A perfect example is her early poem, "Houses of Old Moscow." She predicted the emergence of a new unrecognizable Moscow, which dared everything that at least slightly reminded of its historical past, and most importantly - about the people who lived and loved in it.
On the work of Marina Ivanovna
The poetess does not belong to her time, even when she creates concrete and clear images, concretizing the situation. It dissolves in the rapidly current time of other worlds. The stream of elusive, flexible rhythms - these are the main signs of the poetry's verse. Visual images are not her main strength, although in the poem “Houses of Old Moscow” we see them quite accurately: wooden, with columns, peeling whitewash, worn armchairs inside, with ombre tables, with a bureau where letters are written on yellowed paper. And I recall the picture of V. Polenov "Grandmother's Garden."
M. Tsvetaeva’s poems are born spontaneously, obeying the laws of speech, and not melody, and she conditionally breaks them into stanzas. The poetess herself wrote in her diaries that behind everything she saw was a secret, the true essence of things. Therefore, she transformed the real world in accordance with higher harmonies, which are subordinate to the divine providence and are intended for the elect. In Russian poetry it is no longer possible to find a poet with such a sharpened, completely special perception of reality. The world surrounding M. Tsvetaeva unites the material, earthly and spiritual, ideal, heavenly. Every day it fits into later life, and life itself falls into eternity. The romanticism of her attitude rises to the heights of realism.
Her poetic speech was groundbreaking. In the words of M. Tsvetaeva one can hear her restless spirit, who is looking for truth, ultimate truth. The tension of feelings and the uniqueness of the talent of M. Tsvetaeva, a man of incredibly difficult fate, found their rightful place in Russian poetry.
Elegance mood
The poem "Houses of Old Moscow" was written in 1911. The poetess was only nineteen years old, but how accurate and true with what force of lyrical sadness she described the ever-moving era of the 1870s. In the "Houses" concentrated elegy of longing for the past forever, for already lost. She admires the still remaining colors of the noble culture. Tsvetaeva painted the “Houses of Old Moscow” with an aestheticization of antiquity. The bitterness of their sunset fading is heard in every stanza. She saw in them a genuine face, full of languid and quiet charms of Moscow, opposing the new, marching progress in the form of heavy six-story freaks who began to fill the space of the city.
In the elegiac poem "Houses of Old Moscow" an epitaph is read to a dear old heart. “Where,” she asks, “painted ceilings, mirrors to the ceilings?” Why don't we hear harpsichord chords, don't see heavy dark curtains in colors? Where did the oval portraits in gilded frames disappear, from which lovely ladies in wigs and prominent gallant men in army uniforms or with standing collars in uniforms looked point-blank? Where are the carved cast-iron gates that seemed to stand for centuries, where their eternal decoration - the lion's muzzles? This is the theme of "houses."
Poetic trails
The poem "Houses of Old Moscow" consists of six quatrains, written with a dactyl. The epithet “languid” is repeated two times, causing the heart to ache. Other epithets - “centuries-old gates”, “wooden fence”, “painted ceilings” - talk about the former greatness of native antiquity, which has not lost its beauty and attractiveness. Metaphorically transmitted the disappearance of these houses. They disappear like ice palaces instantly at the beck of an evil magic wand. The poet’s loving heart gently addresses this world using diminutive suffixes: not at home, but at houses, not alleys, but alleys. Parallelism begins and ends with a poem.
Instead of a conclusion
From a young age, the poetess sought to express her emotional feelings. She stood far from all stereotypes. M. Tsvetaeva left in our poetry an extraordinary and peculiar trace that does not fit into the historical boundaries of time.