By Alyssa W. Dinega
Russian poet Marina Tsvetaeva's robust poetic voice and her tragic existence have frequently triggered 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 significant philosopher with a coherent creative and philosophical imaginative and prescient.
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Extra resources for A Russian Psyche: The Poetic Mind of Marina Tsvetaeva
This is a radical intellectual departure from the usual destiny of the feminine and a daring solution to her problem of establishing viable poetic subjectivity. 35 Olga Hasty, in her book Tsvetaeva’s Orphic Journeys in the Worlds of the Word, has shown convincingly and at great depth the extent to which Tsvetaeva’s poetic thought is organized by mythological patterns: In Tsvetaeva’s writings myth assumes a paradigmatic function speciﬁcally within the process of ordering the signs of the surrounding world.
17 For the earthbound mothers described, these words have a purely geographical signiﬁcance, and a most inexact one at that; there is no inkling whatsoever of a higher plane of reference in these women’s existence. 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—’...
As is the case in Shakespearean tragedy, what goes around, comes around. The previously straight vector of her poetic inspiration is curved into a vicious circle from which there is to be no escape. Thus, Tsvetaeva in her late lyric poetry comes to recognize the actual consequences of her previous attempts at transcendence via a division of language’s literal from its ﬁgurative meanings, of language’s spiritual aims from its sensual origins. Her short-lived infatuations with the young poets Nikolai Gronskii and Anatolii Shteiger that inform my fourth and ﬁnal chapter are no longer attempts on Tsvetaeva’s part to ﬁnd some exit into true male otherness, but simply proof of her utter inability ever to do so.