The message about Marina Ivanovna Tsvetaeva is brief. Interesting facts from Tsvetaeva’s life
One of the most difficult realizations for readers of biographies of great men is the simple fact that they were only human. Creativity, a brilliant flight of thought is just one of the facets of personality. Yes, descendants will see exactly this - but still this is only one facet. The rest may be far from ideal. Contemporaries wrote a lot of unflattering things about Pushkin, Lermontov, and Dostoevsky. Marina Tsvetaeva was no exception. The life and work of this poetess were in constant deep internal contradiction.
Childhood
Tsvetaeva is a native Muscovite. It was here that she was born on September 26, 1892. Midnight from Saturday to Sunday, the holiday of Tsvetaeva, who was always sensitive to coincidences and dates, especially those that added exoticism and drama, often noted this fact and saw a hidden sign in it.
The family was quite wealthy. Father is a professor, philologist and art critic. Mother is a pianist, a creative and enthusiastic woman. She always sought to discern in children the germs of future genius and instilled a love of music and art. Noticing that Marina was constantly rhyming something, her mother wrote with delight: “Maybe she will grow up to be a poet!” Admiration, admiration for art - M. Tsvetaeva grew up in such an atmosphere. Her creativity and her entire subsequent life bore the imprint of this upbringing.
Education and upbringing
Tsvetaeva received an excellent education, knew several languages, lived with her mother in Germany, Italy and Switzerland, where she was treated for consumption. At the age of 16, she visited Paris to listen to lectures on classical Old French literature.
When Marina was 14, her mother died. The father paid a lot of attention to the children: Marina,
her two sisters and brother. But he was more involved in the education of children than in upbringing. Perhaps this is why Tsvetaeva’s work bears the imprint of early maturity and obvious emotional infantilism.
Many family friends noted that Marina was always an extremely amorous and enthusiastic child. Too much emotion, too much passion. Marina was overwhelmed by her feelings, she couldn’t control them, and she didn’t want to. No one taught her this; on the contrary, they encouraged her, believing it to be a sign of a creative nature. Marina did not fall in love - she deified the object of her feelings. And Marina retained this ability to revel in her own feelings, to enjoy them, using them as fuel for creativity. Love in Tsvetaeva’s work is always exalted, dramatic, and enthusiastic. Not a feeling, but admiring it.
First poems
Marina began writing poetry early, at the age of six. Already at the age of 18, she published her own collection - with her own money, and wrote an enthusiastic critical article dedicated to Bryusov. This was another characteristic feature of hers - the ability to sincerely admire literary idols. Combined with an undoubted epistolary gift, this feature helped Marina establish close acquaintances with many famous poets of that time. She admired not only poems, but also authors, and wrote about her feelings so sincerely that a literary review turned into a declaration of love. Much later, Pasternak’s wife, having read her husband’s correspondence with Tsvetaeva, demanded to immediately stop communicating - the poetess’s words sounded too intimate and passionate.
The price of enthusiasm
But that was Marina Tsvetaeva. Creativity, emotions, delight and love were life for her, not only in poetry, but also in letters. This was her trouble - not as a poet, but as a person. She didn't just feel, she fed on emotions.
The subtle mechanism of her talent worked on love, happiness and despair, like fuel, burning them. But for any feelings, for any relationship, at least two are needed. Those who encountered Tsvetaeva, who fell under the influence of her dazzling, sparkler-like feelings, always became unhappy, no matter how wonderful everything was at first. Tsvetaeva was also unhappy. Life and creativity in her life were intertwined too closely. She hurt people without even realizing it. More precisely, I considered it natural. Just another sacrifice on the altar of Art.
Marriage
At the age of 19, Tsvetaeva met a young, handsome brunette. he was smart, impressive, and enjoyed the attention of the ladies. Soon Marina and Sergei became husband and wife. Many of those who knew the poetess noted that at first she was happy. In 1912, her daughter Ariadne was born.
But the life and work of M. Tsvetaeva could only exist at the expense of each other. Either everyday life devoured poetry, or poetry - everyday life. The 1913 collection consisted largely of old poems, but new ones needed passion.
Marina lacked family happiness. Marital love quickly became boring, Tsvetaeva’s creativity required new fuel, new experiences and torment - the more, the better.
It is difficult to say whether this led to actual betrayal. Marina got carried away, flared up with emotion and wrote, wrote, wrote... Naturally, the unfortunate Sergei Efron could not help but see this. Marina did not consider it necessary to hide her hobbies. Moreover, involving another person in this emotional whirlwind only added drama and increased the intensity of passions. This was the world in which Tsvetaeva lived. The themes of the poetess’s work, her bright, impetuous, passionate sensuality, sounding in her poems - these were two parts of one whole.
Sapphic connection
In 1914, Tsvetaeva learned that you can love not only men. the talented poetess and brilliant translator, Russian Sappho, seriously captivated Marina. She left her husband, inspired and carried away by the sudden kinship of souls sounding in unison. This strange friendship lasted for two years, full of the delight of love and tender adoration. It is quite possible that the connection really was platonic. Emotions are what Marina Tsvetaeva needed. The life and work of this poetess are like an endless pursuit of the object of love - love itself. Happy or unhappy, mutual or unrequited, towards a man or towards a woman - it doesn’t matter. All that matters is the intoxication of feelings. Tsvetaeva wrote poems dedicated to Parnok, which were later included in the collection “Girlfriend”.
In 1916, the relationship ended and Tsvetaeva returned home. The resigned Efron understood everything and forgave.
Peter Efron
Next year, two events occur simultaneously: Sergei Efron goes to the front as part of the White Army, and Marina’s second daughter, Irina, is born.
However, the story of Efron’s patriotic impulse is not so clear-cut. Yes, he came from a noble family, was a hereditary member of the People's Will, his beliefs fully corresponded to the ideals of the White movement.
But there was one more thing. Also in 1914, Tsvetaeva wrote piercing poems dedicated to Sergei’s brother, Peter. He was sick - consumption, like Tsvetaeva’s mother.
And he is seriously ill. He is dying. Tsvetaeva, whose life and work are a flame of feelings, lights up with this man. This can hardly be considered a romance in the normal sense of the word - but the love is obvious. She watches with painful fascination the rapid decline of the young man. She writes to him - as she can, ardently and sensually, passionately. She goes to see him at the hospital. Intoxicated by the decline of others, intoxicated by her own sublime pity and tragic feelings, Marina devotes more time and soul to this man than to her husband and daughter. After all, emotions, so bright, so blinding, so dramatic - these are the main themes of Tsvetaeva’s work.
Love polygon
How should Sergei Efron feel? A man who turned from a husband into an annoying nuisance. The wife rushes between her strange friend and her dying brother, writes passionate poems and brushes off Efron.
In 1915, Efron decides to become a nurse and go to the front. He takes courses and finds work on an ambulance train. What was it? A conscious choice dictated by conviction or a gesture of desperation?
Marina suffers and worries, she rushes about, cannot find a place for herself. However, Tsvetaeva’s work only benefits from this. The poems dedicated to her husband during this period are some of the most poignant and eerie. Despair, longing and love - there is a whole world in these lines.
The passion that corrodes the soul spills out into poetry, this is all Tsvetaeva. The biography and work of this poetess shape each other, feelings create poems and events, and events create poems and feelings.
Irina's tragedy
When Efron, having graduated from ensign school, went to the front in 1917, Marina was left alone with two children.
Tsvetaeva’s biographers try to pass over in silence what happened next. The poetess's youngest daughter, Irina, is dying of hunger. Yes, in those years this was not uncommon. But in this case the situation was extremely strange. Marina herself repeatedly said that she did not love her youngest child. Contemporaries claim that she beat the girl and called her crazy and a fool. Perhaps the child really had mental problems, or maybe it was due to bullying from the mother.
In 1919, when food supplies became very bad, Tsvetaeva decided to send her children to a sanatorium, on state support. The poetess never liked to deal with everyday troubles; they irritated her, caused her embitterment and despair. Unable to bear the fuss with two sick children, she, in fact, gives them to an orphanage. And then, knowing that there is practically no food there, she brings food to only one - the eldest, her beloved. The unfortunate, weakened three-year-old child cannot withstand the hardships and dies. At the same time, Tsvetaeva herself obviously eats, if not normally, then tolerably. I have enough strength for creativity, for editing what has already been written before. Tsvetaeva herself spoke about the tragedy that occurred: there was not enough love for the child. There just wasn't enough love.
Life with a genius
This was Marina Tsvetaeva. Creativity, feelings, and aspirations of the soul were more important to her than the living people nearby. Everyone who was too close to the fire of Tsvetaeva’s creativity was scorched.
They say that the poetess became a victim of persecution and repression, and could not stand the test of poverty and deprivation. But in light of the tragedy of 1920, it is obvious that most of the suffering and torment that befell Tsvetaeva is her fault. Willing or involuntary, but her. Tsvetaeva never considered it necessary to keep her feelings and desires in check, she was a creator - and that said it all. The whole world served as a workshop for her. It is difficult to expect the people around Marina to perceive such an attitude with delight. Genius is, of course, wonderful. But from the outside. Those who believe that those close to creators should endure indifference, cruelty and narcissism only out of respect for talent simply have not lived in such conditions themselves. And they hardly have the right to judge.
Reading a book with brilliant poetry is one thing. Dying from hunger when your mother does not consider it necessary to feed you, simply because she does not love you, is completely different. Yes, and Tsvetaeva are masterpieces. But this does not mean that poets were necessarily
Konstantin Rodzevich
With all the peculiarities of Tsvetaeva’s character, with all her everyday, practical inadequacy, Efron still loved her. Finding himself in Europe after the war, he invited his wife and daughter there. Tsvetaeva went. For some time they lived in Berlin, then for three years - near Prague. There, in the Czech Republic, Tsvetaeva had another affair - with Konstantin Rodzevich. Again the fire of passion, again poetry. Tsvetaeva’s creativity was enriched with two new poems.
Biographers justify this passion for the poetess's fatigue, despair and depression. Rodzevich saw a woman in Tsvetaeva, and Marina was so yearning for love and admiration. Sounds quite convincing. If you don’t think about the fact that Tsvetaeva lived in a country that was starving. Tsvetaeva, by her own admission, caused the death of her daughter. Marina was repeatedly carried away by other men, and not only men, forgetting about her husband. And after all this, he made every effort to help his wife get out of the starving country. He didn’t leave her - although, of course, he could have. Didn't get divorced upon arrival. No. Gave her shelter, food and the opportunity to live in peace. Of course, what kind of romance is there... It's boring. Ordinary. Either it's a new fan.
European hobbies of Tsvetaeva
According to some contemporaries, Tsvetaeva’s son, Georgy, is not Efron’s child at all. It is believed that the boy's father could be Rodzevich. But there is no exact information on this matter. Those who doubted Efron’s paternity did not like Marina and considered her an extremely unpleasant, difficult and unprincipled person. And therefore, from all possible explanations, they chose the most unpleasant, discrediting name of the poetess. Did they have reasons for such dislike? Maybe. Should such sources be trusted? No. Prejudice is the enemy of truthfulness.
Moreover, it was not only Rodzevich who served as an object of interest for Tsvetaeva. It was then that she conducted a scandalous correspondence with Pasternak, which the latter’s wife broke off, finding it outrageously frank. Since 1926, Marina has been writing to Rilke, and communication lasts quite a long time - until the death of the legendary poet.
Life in exile for Tsvetaeva is unpleasant. She yearns for Russia, wants to return, complains of instability and loneliness. The homeland in Tsvetaeva’s work in these years became the leading theme. Marina became interested in prose, she writes about Voloshin, about Pushkin, about Andrei Bely.
At this time, the husband became interested in the ideas of communism, reconsidered his attitude towards Soviet power and even decided to participate in underground activities.
1941 - suicide
Marina is not the only one who is sick of returning home. The daughter, Ariadne, is also eager to go home - and she is actually allowed to enter the USSR. Then Efron returns to his homeland, by that time already involved in a murder with political overtones. And in 1939, after 17 years of emigration, Tsvetaeva finally returned too. The joy was short-lived. In August of the same year, Ariadne was arrested, in November - Sergei. Efron was shot in 1941, Ariadne received 15 years in the camps on charges of espionage. Tsvetaeva was never able to find out anything about their fate - she simply hoped that their loved ones were still alive.
In 1941, the war began, Marina and her sixteen-year-old son left for Elabuga to be evacuated. She has no money, no job, inspiration has left the poetess. Devastated, disappointed, lonely Tsvetaeva could not stand it and on August 31, 1941 she committed suicide - she hanged herself.
She was buried in the local cemetery. The exact resting place of the poetess is unknown - only approximately the area in which there are several graves. There, many years later, a memorial monument was erected. There is no single point of view regarding the exact location of Tsvetaeva’s burial.
Marina Ivanovna Tsvetaeva is an outstanding Russian poetess, also famous outside her native country. The girl made her first exploits in the literary field at the age of six, writing her debut poem.
Years of life: from 1892 to 1941. The poetess was born on September 26 or October 9, old style, in Moscow into a family of intellectuals: her father Ivan Vladimirovich taught at Moscow University and headed the department of history and theory of art there. In addition, he was an employee of the Rumyantsev and Moscow Public Museums. Marina's mother Maria Alexandrovna, nee Maine, died quite early; the girl was barely 14 years old at that time. Marina has the warmest memories of her mother; she has repeatedly emphasized that their relationship has always been of a close spiritual nature.
After the death of the mother, the family, consisting of two more sisters and a brother, remained in the care of the father. In this environment, Marina felt lonely and was a reserved and secretive girl. Books became her faithful companions at that time. It must be said that the girl’s romantic nature gravitated towards literature with particular zeal. In 1903, Marina attended a course of lectures at a boarding school in Lausanne in Switzerland, and later studied at a German boarding school and learned the basics of old French literature at the Sorbonne.
Tsvetaeva’s own works first saw the light of day in 1910, when her first collection of poetry, “Evening Album,” was published. However, at that time, the girl did not set herself the goal of becoming a great poetess: poetry was an outlet for her and one of the ways of self-expression. And two years later the next collection, “The Magic Lantern,” was released.
1913 was the year of the birth of two books at once, which fully reflected the creative growth of the author and her great spiritual maturity as a person. Until now, Tsvetaeva did not consider herself to be in literary circles and had virtually no contact with colleagues in the writing profession. The only exception was her close friend Voloshin; the girl dedicated the essay “Living about Living Things” to him. In his company in the summer of 1911 in Koktebel, Marina met Sergei Efron. Feelings flared up in the girl’s soul; she literally worshiped the ideal image of her new acquaintance, who embodied the romantic knightly nature. She dedicated heartfelt lines to him and said that she was finally able to know the happiness of mutual love in life, and not on the pages of novels. At the beginning of 1912, the couple got married, and on September 5, the daughter of Marina and Sergei, Ariadne, was born.
As Tsvetaeva grew up and became a mother and wife, the style of her poetry also grew. She masters new poetic meters and techniques of expression. The “Girlfriend” cycle traces a more mature style of writing; sublime pathos is replaced by everyday everyday details and an abundance of neologisms and colloquialisms. Tsvetaeva’s lyrics begin to be pierced by a certain tragedy and the realities of a terrible and not always fair modern life. In 1915, Marina's husband abandoned his studies due to the outbreak of the First World War and went to serve on a military train as a brother of mercy. Tsvetaeva sensitively responds to the unhappy events taking place in her life with a cycle of poems, where she expresses her hatred and contempt for the war and the Motherland, which is forced to conduct military operations against Germany, so dear to her since childhood.
Then the civil war separated Marina and her two young daughters from the father of the family, who sided with the Provisional Government. During the years 1917-1920, while remaining in hungry Moscow, she wrote poems glorifying the feat of the White Army, later combined into the collection “Swan Camp”. The book was destined to see the light only after Marina’s death in 1957 in the West. Unable to feed her daughters, Tsvetaeva placed them in an orphanage, and soon the youngest Irina died in 1920. Her mother dedicates the poem “Two hands, easily lowered” and the cycle “Separation” to her. In 1922, Tsvetaeva and Ariadna left the “new” country she hated for Germany, where she published the collection “Craft”. Then, for 4 years, she and her husband remained in the suburbs of Prague. There, in 1925, the family had a son, George. The following years were marked by new achievements in the literary field, another rethinking of his work and new works published in foreign publications.
The year 1930 was marked by a creative crisis, reinforced by a general rejection of the pro-Soviet views of her husband, who was trying to return to his homeland. In 1937, Efron, as a result of his involvement in the dirty murder of a former Soviet special agent, was forced to go into hiding in the USSR. Following him, Ariadne also leaves her mother. In 1939, Tsvetaeva was also forced to leave the country with her son and sail to the shores of her distant Motherland.
Tsvetaeva's husband and daughter were arrested for their political beliefs, and Efron was later shot. Being a relative of “enemies of the people,” the poetess wandered without permanent housing and means of subsistence. With the outbreak of war in 1941, Tsvetaeva and her son were evacuated to Yelabuga, where they were never able to get a job. Blamed by her son for their difficult financial situation, the poetess passed away on August 31, 1941.
Tsvetaeva Marina Ivanovna (1892-1941). It has not yet been established where the remains of the talented Silver Age poetess Marina Tsvetaeva are buried. Not accepted by the new Russia and rejected by the old Russia, Marina was understood by her contemporaries only in the mid-sixties.
She was born into a family of Moscow intellectuals. The mother instilled in the girl a love of music and literature; Marina composed her first poems at the age of 6. Due to tuberculosis, the future poetess's training took place either in Europe or in Russia, until the family finally moved to Yalta (1905).
After graduating from high school, Tsvetaeva attended lectures and meetings of writers. She converges with the Symbolists and the first collection “Evening Album” (1910) attracts the attention of Voloshin and Gumilyov. After visiting the “House of Poets” in Koktebel, Marina meets the revolutionary publicist S. Efron, whom she marries.
In the next two years, collections of poems “From Two Books” and “The Magic Lantern” appeared. Her name is becoming widely known in literary circles, her works are published in famous magazines and almanacs of “Silver Age” poetry.
The poetess’s well-known friendship with Sofia Parnok lasted until 1916, after which Tsvetaeva left for Aleksandrovsk, where she wrote another cycle of poems.
Since the beginning of the Civil War, Marina Tsvetaeva has been working in Soviet institutions, publishing collections of poems, writing romantic dramas, and participating in the cultural life of revolutionary Russia.
Tsvetaeva's husband emigrated to the Czech Republic and in 1922 the poetess, with her daughter, went to see him. His stay abroad was aggravated by a lack of money and Efron’s suspicion of connections with the OGPU. In 1928, the collection “After Russia” was published, Tsvetaeva also wrote memoirs and essays. By the mid-thirties, the poetess's family lived in extremely cramped conditions. Despite her reluctance to return to her homeland in 1939, Tsvetaeva followed her daughter and husband to the USSR.
However, the arrest of Efron and the daughter of the poetess Ariadne soon followed. Tsvetaeva was morally broken; after the start of the war, she was sent to evacuation, under the care of the Literary Fund and, being in difficult living conditions, committed suicide.
Composition
Maria Tsvetaeva was born in Moscow on September 26, 1892, into a family of intellectuals devoted to science and art. Her father, Ivan Vladimirovich Tsvetaev, a professor at Moscow University, a famous philologist and art critic, later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts.
Mother came from a Russified Polish-German family and was a talented pianist. She died at a young age in 1906, and the upbringing of three children (Marina, Anastasia and their half-brother Andrei) fell on the shoulders of a responsible and selflessly loving father.
The Tsvetaevs lived in their cozy Moscow mansion; They spent the summer in the Moscow region (in the city of Tarusa), and sometimes made trips abroad. Marina Tsvetaeva's youth was imbued with a special spiritual atmosphere: romance, sentimentality. (This material will help you competently write a short biography on the topic of Marina Tsvetaeva. A brief summary does not allow you to understand the whole meaning of the work, so this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, stories, stories, plays, poems. )
At the age of sixteen, Tsvetaeva made an independent trip to Paris, where she attended a course in Old French literature at the Sorbonne. While studying in Moscow private gymnasiums, she prioritized not so much the mastery of compulsory subjects, but rather the expansion of her sociocultural interests.
Marina Tsvetaeva began writing poetry at the age of six, and in three languages: Russian, French and German. At the age of eighteen, she released her first collection entitled “Evening Album” (1910), which included works written at her student’s desk. The poems were limited to narrow family impressions, but this absolutely did not prevent Tsvetaeva from gaining her first fame. Readers were attracted by the adult syllable of poetic speech; no one guessed about the young age of the author. The poet's first reviewers were Valery Bryusov and Maximilian Voloshin, who very strongly welcomed the published book.
In the period from 1912 to 1913, two more collections were published: “The Magic Lantern” and “From Two Books,” published with the participation of Tsvetaeva’s youth friend Sergei Efron, whom she married in 1912. These collections served as an undeniable statement of poetic maturity: critics were struck by the tone of Tsvetaeva’s firm confidence in her creative powers and in her future success.
Analyzing Tsvetaeva’s early poems, we can say with confidence that for her there were no objects to follow, no standards - the author achieved all heights due to her unique individuality.
She treated everything in a special way: she also perceived the Great October Revolution in her own way. Not understanding him, Marina Ivanovna did not see in him a powerful force that changes everything personal and social in a person. She was overcome by contradictions. Only much later, already in exile, did she completely change her mind in relation to the Revolution - she condemned herself.
For more than four years (1917-1922) Tsvetaeva lived in almost complete alienation from the literary environment, in a circle of close friends who understood her poems. During this period, she was not a member of any of the numerous poetic groups and extremely rarely performed readings of her poems. Despite this, after her several public appearances, the State Publishing House published two books: “Marches” and the fairy tale poem “The Tsar Maiden”. Her poems were appreciated in print.
In May 1922, she was allowed to go with her daughter to her husband in Prague, who found himself in the ranks of the white emigration. In November 1925, the family moved to Paris.
In emigration, Tsvetaeva wrote a lot and with inspiration, but all her work had already moved into a different, tragic tone. Her poems gradually ceased to be published. True, during the first period of her stay abroad she managed to publish several collections: “Separation”, “Psyche”, “Craft” - and six years later the last book of her lifetime - “After Russia”, which included poems from 1922-1925.
Poetry did not leave Marina Tsvetaeva, who was in a state of burdensome longing for her abandoned homeland; she lived inseparably with her in everyday life full of severe hardships.
In 1939, Tsvetaeva, after seventeen years of disastrous stay abroad, having received Soviet citizenship, returned with her son to her native land. At first she lives in Moscow, is engaged in translations, and is preparing a new book of poetry.
But time was approaching the time of terrible military trials that befell the Soviet people. In July 1941, Marina Tsvetaeva, together with her son and thousands of other women and children evacuated from the capital, left Moscow and ended up in the forested Kama region, first in Chistopol, then in Elabuga. Here, under the weight of personal misfortunes, alone, in a state of deep depression, she commits suicide. This happened on August 31, 1941.
This is how the poet’s life path ends tragically, whose entire fate has confirmed the inevitable connection of great talent with the fate of the Motherland.
In the general history of Russian poetry, the name of Marina Tsvetaeva will always occupy a special place. A poet of the utmost truth of feeling, Tsvetaeva, with all her difficult fate, with all the brightness of her original talent, rightfully entered Russian poetry of the first half of the 20th century.
A short message about the life and work of Marina Tsvetaeva for children in grades 2, 3, 4, 5, 6, 7
The poetess and prose writer was born in 1892 on September 26. The parents named the girl Marina. She grew up in complete harmony and in complete prosperity, the family was prosperous. But a misfortune happened, the girl lost her mother early, then she was not even 14. Despite this, the child’s father tried to do everything so that Marina felt the loss as little as possible. He was a wealthy man, which provided the opportunity for his children to receive a decent education. They had perfect knowledge of several European languages, they were instilled with a special taste for art and a love for literature and art.
Despite the fact that in addition to Marina, there were also children in the family, Tsvetaeva, in short, was not deprived in the family. All the children, Marina and Andrey, Valeria, relatives on their father’s side and from Anastasia’s mother’s first marriage lived in a large mansion on Trekhprudny Lane. In the summer, everyone vacationed together in Tarusa, Kaluga region, and sometimes traveled abroad. Marina, since childhood, has been an independent girl and purposeful in her actions. As evidenced by her trip to Paris at the age of 16. In Paris, Marina attended classes on old French literature as a student.
She began writing poetry at the age of six in the languages of France and Germany.
By the age of 18, her literary work made its debut with the release of the collection “Evening Album”. It includes poems from his student and student years. At that time, their subject matter did not go beyond the boundaries of home and childhood impressions, although they were written in the poet’s mature speech. Critics noticed this feature in the young poet. Reviews were published about her poems, even Valery Bryusov noted that her taste and artistic style are worth attention.
Marina Tsvetaeva's short biography, which is characterized by a wide poetic range, was just a beginning poet. Maximilian Voloshin also became interested in the collection and even visited the girl at home to express his admiration, which contributed to the emergence of a strong friendship. 
With the release of new collections in 1912 and 1913, the capable voice of the poetess sounded with renewed vigor. Her collections appeared on book shelves, she was read, and her books were bought up by true poetry lovers. In 1912, Tsvetaeva got married. The girl fell in love with her husband during her school years and carried her love for Sergei Efron throughout her life. The marriage produced two daughters and a son. And since the husband fought during the revolution, the family, at its end, had to emigrate. In foreign lands, life was not sweet. She returned to her homeland two years before the start of the Great Patriotic War. But she was not welcome here.
Speaking briefly about Tsvetaeva, it should be noted that the woman faced a lot of troubles. There was nothing to live for, she had to earn money through translations. During the war, Maria, completely desperate and in a severe depression, went with her son to Yelabuga near Prokamye. Being in a depressed state, Maria Tsvetaeva committed suicide. It happened on August 31, 1941. The poetess was buried as an exile outside the cemetery in Yelabuzhsk. To date, the exact burial place of Tsvetaeva is unknown. Her husband was shot in 1941, her son died in the war, one daughter died while in the hospital.
