By Alyssa W. Dinega
Russian poet Marina Tsvetaeva's robust poetic voice and her tragic existence have frequently caused literary commentators to regard her as both a martyr or a monster. Born in Russia in 1892, she emigrated to Europe in 1922, back on the peak of the Stalinist Terror, and dedicated suicide in 1941. This paintings makes a speciality of her poetry, rediscovering her as a major philosopher with a coherent creative and philosophical imaginative and prescient.
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Additional resources for A Russian Psyche: The Poetic Mind of Marina Tsvetaeva
Tsvetaeva’s mythopoetic negotiations with other poets of her time provide the focus for the remainder of my study. 28 Introduction The Problem of Alterity and Tsvetaeva’s Mythopoetics: Preliminary Remarks Tsvetaeva requires participation in an archetype, in which the participants are no longer fully independent actors, indiﬀerent to one another, but are bonded by certain mythical relations that bring about a paradoxical freedom and a possibility of new meaning, new speech. In other words, in her poetry she searches for a way to sublimate her need to deﬁne herself against some true, human other (lover) through participation in the subtle variation of a mythological framework.
In fact, however, the two dreams emerge as correctives to the two aspects of her female gender that the speaker ﬁnds intolerable. ’’ This disjunction, it is important to note, emerges from the poet’s own deep intuition, rather than from the social strictures imposed upon her. 19 Her dream that she is able to smile directly into people’s eyes, on the other hand, relates to the discomfort her gender causes her not in the poetic realm, but in the realm of human and bodily existence (represented metonymically by the eyes).
It channels life’s inexorable forward movement of time and events into the vector of poetic progress. ), power and honor: ‘‘My drum gives me everything, both power and honor’’ [Vse mne daruet,—i vlast' i pochet / Moi baraban]. Tsvetaeva’s career as a drummer smoothes the 24 Introduction rift between the poetic and the earthly, promising to carry her into ‘‘unseen countries’’ that are for once both literal and ﬁgurative: ‘‘The sun has risen, the trees are in bloom... ’’ [Solnyshko vstalo, derev'ia v tsvetu...