If the mountains still do not attract us. Lyrical work by M. Tsvetaeva “The Poem of the Mountain

like the Old Testament and the New Testament

Two Prague poems by Tsvetaeva are almost the climax of her work. They belong to the highest achievements in the genre of the Russian poem of the 20th century - a genre marked by such milestones as Blok's "Retribution" and "The Twelve", Andrei Bely's "First Date", Kuzmin's "Trout Breaks the Ice", Pasternak's "Spektorsky", Akhmatova's "Poem without a Hero". As you know, this genre differs significantly from the canonical genre created by Pushkin and Lermontov. A typical poem of the 20th century does not have a detailed plot, consists of a series of episodes (often autobiographical), is often polymetric, and in the extreme case is reduced to a cycle of poems, as in Kuzmin. Semantic unity is given to it by various and complex methods, in particular, by a single, although sometimes deeply veiled subtext.

The "Poem of the Mountain" and "The Poem of the End" are, as it were, a diptych; it is most reasonable to consider them together. This is how Tsvetaeva herself considered them (cf. her well-known letter to Pasternak dated May 26, 1926: “[...] The mountain used to be a male face, hot from the first, immediately the highest note, and the Poem of the End has already burst female grief, bursting tears [ ...] The Poem of the Mountain is a mountain seen from another mountain. The Poem of the End is a mountain on me, I am under it"). They are united primarily genetically: it is known that their biographical background was Tsvetaeva's unsuccessful romance with Konstantin Rodzevich, which developed in Prague from mid-September to mid-December 1923. The mountain that gave its name to the first poem and acquired mythical dimensions in it is the comparatively modest hill of Petřín on western outskirts Prague. In 1923, Tsvetaeva lived close to this hill, almost on its slope, in an unpresentable house of a modern type, now marked with a memorial plaque. The "Poem of the End" continues the "Poem of the Mountain" (it was started on the same day that the "Poem of the Mountain" was completed - February 1, 1924). More precisely, time is reversed here, since the events of the “Poem of the Mountain” are a lament for a love that has already ended, the “Poem of the End” is a description of how this love collapsed.

However, the commonality of the two poems is by no means exhausted by the biographical fact underlying them. It should be noted that they are generally amazing connected- for all its emphasized fragmentation. A number of episodes, especially in the "Poem of the Mountain" (say, episode 4 - "Persephone's Pomegranate Seed"), are quite capable of functioning as separate works; but all episodes are permeated with a single rhythmic, intonational and semantic pressure, which turns each poem into a strictly adjusted whole, and both poems into a “double”, the components of which explain and balance each other.

This semantic unity of the two poems does not seem to have been satisfactorily described so far. Oddly enough, the “Poem of the Mountain” and “The Poem of the End” were usually considered separately in literature - and much less often than many other works of Tsvetaeva. Two serious works (Ivanov, 1968; Smith, 1978) explore the "Poem of the End" and "The Poem of the Mountain" mainly on a formal level (however, Ivanov's work proves the fundamental position about the rhythmic unity of the "Poem of the End", opposed to its metrical diversity; this position goes beyond purely formal analysis). As far as we know, only one extensive work is devoted to the semantics of the "Poem of the End" (Revzina, 1977). An interesting and competent study by Revzina reveals the subtexts of the poem associated with the circle of Slavic pagan mythologies. The presence of this layer in the "Poem of the End" (as, indeed, in the "Poem of the Mountain", and in all of Tsvetaeva's mature work) should be considered undeniable. However, in our opinion, it far from exhausts the deep semantics of the poem and is not even the main one in it.

It is known that Tsvetaeva freely combined biblical, ancient and many other (Slavic, German ...) mythological motifs. Like modern researcher, she revealed their similarities and kinship. In the "Poem of the Mountain" and the "Poem of the End" different mythologies are superimposed on each other and mutually recoded. Both works have an extensive "reference keyboard". In both, biblical (and parabiblical) images are scattered, moreover, related to both the Old Testament and the New Testament (Hagar, the twelve apostles, paradise, the seventh commandment, Sinai; the Eternal Jew, David, David's shield, tree, Eve, the commandments of Sinai, Jehovah, Job, Judah, Song of Songs, Solomon, Solomon's moon). Both contain biblical sayings (" to whom / It will come true - according to his tears» - cf. Rev. 22:12; “Like a seal / On your heart, like a ring / On your hand[…]” - cf. Canto P. 8:6; "To us, unknown birds, / Solomon's brow / Beats"- cf. Mat. 6:26, 28-29, Luke. 12:24, 27) or quotations from spiritual verses (“to whom we will sing // My sadness» - cf. verse about Joseph. They are interspersed with the motifs of ancient mythology and history (Atlas, Vesuvius, the Gordian knot, Parnassus, Persephone, Rome, the Titans; Arcadia, Venus dolls, Leta, maenad, naiad, Roman commander, Semiramis Gardens, Charon's bribe, Caesar). However, the main, decisive subtext of the two poems, the semantic core that communicates the unity of their branched symbolism, should be considered the Bible, which is present here not only at the level of individual quotes and motifs, but also, as it were, with its entire corpus. In a small space, Tsvetaeva reproduces in her own way biblical history, projecting it on the relationship of their characters. This reproduction is replete with semantic inversions, rethinking, even blasphemous parodic moments. In its sharp ambivalence, it can sometimes seem close to the practice of the "black mass"; but, in any case, it has a unique poetic persuasiveness.

If we accept the Bible as the main subtext of both poems, it becomes easy to interpret the principle of "two": "Poem of the Mountain" is oriented to the Old Testament, "Poem of the End" - to the New Testament. In the center of the "Poem of the Mountain" is the story of original sin and expulsion from paradise; in the center of the “Poem of the End” is the story of the expiatory sacrifice on Golgotha ​​(“The whole way of the cross in stages,” as Tsvetaeva wrote down on January 27, 1924, about to start working on the thing). These subtexts are not veiled and lie on the surface; all the more surprising that they have not yet been opened with sufficient completeness and detail.

Petřín Hill at the beginning of the first poem acquires pre-biblical features world mountain, axis mundi, models of the universe That mountain was - the worlds! It combines diametrical opposites: land(twist) and moisture(ocean), external(hump, tubercle) and internal(grotto), active (“That mountain was like thunder!”) And passive (“Chest, played by the titans!”). By the way, this series of oppositions can be easily interpreted as an opposition male And female. The mountain also unites death And life (“That mountain was like a chest / Recruit, dumped by a shell. / That mountain wanted lips / Virgin, a wedding ceremony // That mountain demanded; That mountain drove and fought”). Reaching heaven, it simultaneously serves as an entrance to the afterlife. A sacred (incestuous) marriage of the “celestials of love” takes place on the mountain (cf. the motif of “brotherhood”, “kinship” that runs through both poems). Those who heal "on the top of the mountain" become not subject to earthly institutions and taboos, equal to the gods, but thereby are in danger of incurring their wrath. (“God charges dearly for the world!”; “Gods take revenge on their likenesses!”).

This complex of mythological motifs dating back to deep antiquity is easily projected onto the topic of paradise from the Book of Genesis. Expanding the archaic mythology of the mountain already in the first episode of the poem, Tsvetaeva in the second (the shortest) episode directly calls the mountain paradise. This paradise ("Like in the palm of your hand / Paradise - don't take it, if it's burning!") presented, as usually happens with Tsvetaeva, in a rethought and parodic vein. Its traditional features are being replaced by the opposite ones. This is not a garden protected from outer darkness, but an area open to the forces of chaos. (“Just a bare barracks / Hill. - Equal! Shoot!; Oh, far from alphabetical / Paradise - drafts drafts! Draft replaces the blessed heavenly winds of Ephraim the Syrian; bushes, northern grasses and trees (“In the heaps of brown heather, / In the islands of suffering needles ...”) crowd out the fruitful paradise trees; October replaces eternal spring. Yet this is where the fall occurs. (“The mountain, like a matchmaker - holiness, / Pointed out: here[...]"). In full agreement with the Book of Genesis follows the exile of Adam and Eve, which is described simultaneously in mythological terms, as a descent to the underworld and in a parody-naturalistic code (“The mountain grieved that we were apart / Down, through such mud - // Into the life that we all know about: / Rabble - market - barracks"). Like a musical parallel to the theme of Adam and Eve, in the background is the theme of Hagar, who Abraham and Sarah banished into the wilderness with their son Ishmael; thus, by the way, the motive is implicitly introduced wandering in the desert i.e. Exodus.

At the beginning of the second episode, the mountain was defined by negating (Not Parnassus, not Sinai). However, later it acquires the scale and properties of Sinai; it is the epiphany of the deity, the locus where man communicates with the upper world. Description of the mountain in the tenth episode (“Not a hillock overgrown with families - / A crater put into circulation! / Vineyards - Vesuvius / Do not tie! A giant - flax / Do not tie! One madness / Mouth is enough to make a lion // Vineyards turn, / Lava of hatred jet "") largely focused on the Book of Exodus (“On the third day, at the coming of morning, there were thunders, and lightnings, and a thick cloud over the mountain, and a very strong trumpet sound; and all the people that were in the camp trembled”- Ref. 19:16; “Mount Sinai was all smoking because the Lord descended on it in fire; and smoke ascended from her like the smoke of a furnace, and the whole mountain shook violently.” Ref. 19:18; “All the people saw thunders and flames, and the sound of a trumpet, and a smoking mountain; and when they saw it, the people retreated, and stood afar off.” Ref. 20:18; “The sight of the glory of the Lord on the top of the mountain was before the eyes of the children of Israel, like a consuming fire» - Ref. 24:17). The invectives that Tsvetaeva throws against the “shopkeepers” who worship the golden calf and profane the sacred, her warnings to the “city of husbands and wives”, which will encroach on “her mountain” (“May there be no place for you, / Teles, on my blood! / Harder than a cornerstone, / Oath of a suicide bomber on a bed: / May there be no happiness for you, / Ants, on my mountain!”), correlate with warnings and prohibitions from the same Book (“[…] beware of climbing a mountain and touching its soles; whoever touches the mountain will be put to death.” Ref. 19:12; “But no one should ascend with you, and no one should show himself on the whole mountain; even livestock, small and large, must not graze near this mountain» - Ref. 34:3).

The mountain, in fact, is identified with God (no wonder it speaks), and the poet with Moses (cf. Ex. 19:19; cf. also Ps. 30:4 - "For you stone mountain mine and my fence”; "For the sake of Your name lead me and guide me"), In this context, of course, it is no coincidence that the mention seventh commandment. At the same time, Tsvetaeva characteristically refutes the biblical text, heralding a certain romantic “anti-law”: poets and people in general high spirit, carriers of the chosen status, are hostile to any norm, their tragic feeling always overflows through any limit. The only commandment for them is the breaking of the commandment ("While you can still - sin!"), for which they must - and are willing - to pay with suffering and death. Supernatural power is manifested and spoken in them, for the violation of the law is what brings one closer to God. In passion, they renounce themselves and from procreation: the fulfillment of the words “be fruitful and multiply” (Gen. 9:1, 9:7) is the work of “husbands and wives”, and not of participants in a sacred marriage.

The tone of Tsvetaeva's poem, which curses the law-abiding world of Europe, here is close to the tone of the biblical prophets, who curse prodigal Babylon. Note that the composition of the poem (from the second episode to the most extensive episodes - the ninth and tenth, where words of contempt and hatred are interspersed with eschatological visions) in a folded form repeats the composition of the Old Testament - from the Book of Genesis to the prophets.

Unlike the "Poem of the Mountain", the "Poem of the End" is built on the model of the Passion of Christ. If in the first poem we are talking about Eden and Sinai (and partly, perhaps, about Tabor), then the action of the second poem is centered around Golgotha. Comparison of earthly love with cross flour is often found in literature (and even in everyday life), being a kind of cliché; however, with a detailed deployment, as in Tsvetaeva, this cliché is de-automatized, while acquiring a risky and even blasphemous character. The role of Christ is usually played by the heroine, although here, as we shall see, there is also a reversal of roles: the symbolism of Christ can also be associated with the hero, who in other contexts appears as Judas, Pontius Pilate, the executioner, etc. Passionate torment unfolds in Prague: the city with its cafes and dairy, lanterns, embankments, bridges, it turns out to be a mythical Jerusalem (and anti-Jerusalem, Sodom). By the way, in this mythologization of Prague, Tsvetaeva is close to the German ones (precisely Prague) authors of the same time - first of all to Kafka, but also to Gustav Meyrink (as far as she knew them - a curious and still unexplored topic). Another kind of analogy is also indicative, namely with Mayakovsky, who almost simultaneously with Tsvetaeva wrote his poem about love and separation - “About this”, also largely built on the gospel model.

Orientation to the New (and not the Old) Testament is manifested already at the level of the general compositional structure of the "Poem of the End". In "The Poem of the Mountain" along with the events, numerous descriptions, reflections, invectives are given, shaking and blurring the plot sequence. The Poem of the End is clearly dominated by events whose sequence is strictly linear and uniform (cf. Smith, 1978, pp. 365-366). This, as it were, reflects the genre diversity of the Old Testament (in the first case) and the genre unity of the Gospel (in the second case). The "Poem of the End" is saturated and even oversaturated with gospel reminiscences. We note a few of the most obvious (the number of examples can easily be multiplied).

The last evening that the lovers spend together is the transformation of The Last Supper with all its underlying motifs. (“Love is flesh and blood. / Color is watered with one’s own blood”; cf. also an extremely significant motive of betrayal and lies, through the first half of the poem). "Time: six" in the first episode corresponds to the direction of the Gospel of John (“Then it was Friday before Easter, and the sixth hour”- John. 19:14; cf. Mat. 27:45, Mar. Luke 15:33 23:44); in its turn, seventh hour appearing later in the same episode may be related to the seventh day the Sabbath (cf. Mark 15:42, Luke 23:54). Having decided on a break, i.e. on execution heroine, hero meets her with a kiss (“This kiss without a sound: / Lip tetanus. / So - the hand of the empress, / Dead - so[...]"). This scene corresponds to the kiss of Judas; by the way, in rhyme commoner - boring the next stanza implicitly contains the word Judas. Laughter in the third and sixth episodes ("Laughter like a penny tambourine; Through laughter - / Death") refers to the ridicule of Christ (Matt. 27:29, Mark 15:18–20, Luke 23:11, 35). The words of the third episode (" Spruce death, on the right side - / You. Right side as dead") unambiguously point to the crucifixion (two robbers - foolish and prudent - on the sides of Christ, and His pierced side, which is depicted in iconography as right, cf: “But one of the soldiers pierced His side with a spear, and immediately there came out blood and water.”- John. 19:34). Cross-cutting theme of episodes 11 and 12 - out of town ("Out of town! Do you understand? Z" a! / Out! Crossed the shaft! ); it is generally frequent with Tsvetaeva, but in this context it is appropriate to recall that Golgotha ​​was in the suburbs, outside the walls of Jerusalem. Words "Out of town, suburb: / Lbam divorce” can be interpreted as a hint at the etymology of Golgotha ​​(Execution Ground). Sheep, mentioned in the 10th, 12th and 14th episodes (in one case - in combination with executioner), refer to the sacrificial Lamb.

We have already quoted Tsvetaeva's words about the poem: "The whole way of the cross in stages." In this regard, a very important question arises. The poem was first conceived as consisting of 7 parts, then - of 12 (both of these numbers have religious and mystical connotations). In the final version, it is divided into 14 episodes. This number, at first glance, devoid of sacred meaning, in fact, has it: it corresponds exactly Way of the Cross, Via Crucis in the Catholic tradition. Practice Via Crucis has existed in Catholic countries since the 15th century (it was approved by Pope Innocent XI in 1489). This is a sequential tour of the chapels, paintings or sculptures depicting individual moments of the Passion of the Lord - the path of Christ to Calvary. Each stop along the way is accompanied by meditation and prayer. The number of stops varied at first, but at the end of the 17th century, the Church officially set it equal to 14. Tsvetaeva was undoubtedly familiar with this tradition. It should be noted that on the hill of Petr-shyn there is a Romanesque (rebuilt in the 18th century) church of St. Lawrence, surrounded precisely by the chapels of the Way of the Cross.

Is it possible to coordinate 14 episodes of Poem of the End with 14 stops Via Crucis? Let us immediately say that this problem, if solvable, is only in some approximation. Tsvetaeva does not tend to follow a strict plan at all: in most episodes one can see only hints at one or another stage of the Way of the Cross, and motifs from other stages (or other places in the Gospel) are usually wedged into them. And yet it can be argued that this Catholic tradition has become one of the impulses and subtexts of the poem. Let's make some observations.

At the first stop Via Crucis Jesus is sentenced to death. This theme is prominent in the first episode (" Death does not wait; Exaggeration of life / At the hour of death"). Note that "the sixth hour" ("Time: six")- exactly the moment when Pilate betrays Christ to be crucified. " Pillar Finger"(cf. further: “ Lip tetanus") correlates with cross. Perhaps it is also possible to correlate empress With King of the Jews A rust and tin- with the inscription that Pilate ordered to put above the head of Jesus (in the chapels Via Crucis it is often depicted on a tin plate).

At the second stop, Jesus takes up his cross and is reviled (“And they spat on him, and taking a reed, they struck him on the head”- Mat. 27:30; “And they struck him on the head with a reed, they spat on him, and, kneeling down, bowed down to him.”- Mar. 15:19; cf. at the beginning of the second episode with Tsvetaeva: "Thunder on the head, / With a shattered saber" o, // With all the horrors / The words we are waiting for ..."). The theme of the second episode can be defined as follows: the heroine takes up her cross, that is, she realizes her suffering as inevitable. The words about the house are significant here ("- But no home! / - Eat, - ten steps away: // House on the mountain; Home, it means: from home / Into the night”). They correspond to the fact that before Calvary Jesus is coming ten stops (the last scenes of the Way of the Cross are being played out already on the mountain, where the coffin awaits Him - “domovina”), the 3rd, 7th and 9th stops are the fall of Jesus under the cross. In the 3rd, 7th and 9th episodes, the motive fall plays a fundamental role, and intensifies from episode to episode. At first, the heroine is terrified of the fall (“I hold on like a sheet of music / Singer, the edges of the wall - // Blind[...]"). Then it becomes physical (“Why don’t I hit my forehead / Into the blood? To smithereens, not into the blood!; I’m throwing myself back”) and is identified with death (“[…] Along these sidewalks into a checker / Straight road: into the ditch // And into the blood"). Note that the 3rd and 7th episodes are additionally connected by the same beginning (“And - the embankment. Waters / I hold on […]; And the embankment. Last").

Less fruitful is the comparison of the fourth, fifth, sixth and eighth stops of the Way of the Cross with the corresponding episodes of the poem. We make only two remarks here. At the fourth stop, Jesus meets Mary among the Jerusalem crowd. The fourth episode is filled with a sarcastic description of the "crowd", "society" that opposes the poet. Against this background, several mysterious place: « Silver notch / In the window - a Maltese star!(cf. in the "Poem of the Mountain": “And your eyelashes are notched, / And the stars are a golden tooth”). Here, apparently, we are talking about the Maltese Square in Prague, which overlooks the ancient church Virgin Mary under the chain(moreover, the Virgin Mary on the altar appears as Stella Maris(eleven)). Both the church itself and the area surrounding it are connected with the history and traditions of the Order of Malta. Tsvetaeva visited these places in her walks around the city (they are located right under Petrin Hill and not far from Charles Bridge, near which stands the “Prague knight” she sang). The sixth stop of the way of the cross is connected with St. Veronica: she wiped Jesus' face with a handkerchief, which left the imprint of His face. The sixth episode mentions handkerchief and described face(hair and eyes) - however, in a specific context.

Stages 10-14 are already played out on Golgotha ​​itself (taking off the clothes, crucifixion, erection of the cross, removal from the cross and position in the tomb). Here, apparently, one should not unambiguously correlate the text Via Crucis with episodes of the poem: the motives of Golgotha ​​are given, as it were, randomly, but their very presence and special concentration in this part of the poem are undeniable. Dialogue in episode 10 ("- Tomorrow the sun will rise from the west! “David will break with Jehovah!”) clearly refers to the words Psalm of David: “My God! My God! why did you leave me?"(Ps. 21:2) that Jesus spoke on the cross during an eclipse (“From the sixth hour, darkness was over all the earth until the ninth hour. And about the ninth hour, Jesus cried out with a loud voice: Il "u, Il" u! lam "a savakhfan" u " i.e.: “My God, My God! why did you leave me?" - Mat. 27:45–46, cf. Mar. 15:33–34, Luke. 23:44–45). At the very end of the episode, the words appear “Palm, finally, and a nail! Wound (Just do not startle, / Opening the wound”) in the 11th episode correlates with wound in the side crucified, about which we have already spoken, and torn seams ("Z" a city, z "a city, / Seam gap; Suburb: seam gap") - With torn veil in the temple (Matthew 27:51, Mark 15:38, Luke 23:45). On the other hand, words "Oh, not losing - / Who vomits!" can be interpreted as a reference to the topic tunic of Jesus ("And so they said to each other: we will not tear it apart, but we will cast lots for it, whose[…]” - John. 19:24).

By the end of the poem, a one-to-one correspondence between the stages of the Way of the Cross and the episodes is restored. Episode 13 dedicated to crying hero over the heroine, clearly correlates with the scene of the removal from the cross and mourning for Jesus. In the same episode, a hint of the Resurrection is given. ("In tears. / Lebeda - / To taste. / - And tomorrow, / When / will I wake up?). Finally, three girls, ridiculing the hero in the final episode, obviously, although parodic and blasphemous, correspond three Marys at the tomb of Jesus, and their very laughter can be understood as risus paschalis {12} .

The last thing I would like to note is that the two poems by Tsvetaeva, for all the similarity of their tone, are resolved in the exact opposite way. The “Poem of the Mountain” ends with prophetic curses and a prayer for retribution (by the way, her final word is revenge), while "The Poem of the End" is lamentation, forgiveness and catharsis. This confirms their interpretation above: the Old Testament passes into the New Testament ("Sam" oh Song of Songs / Speech is given // To us[...]"). In this regard, the title of the "Poem of the End" acquires additional meaning: this is not only the end of earthly love (and life), but also end of Scripture.

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The Czech period of emigration of Tsvetaeva lasted more than three years. During this time, she published two author's books in Berlin - “Craft. Book of Poems” (1923) and “Psyche. Romance "(1923), which included works recent years from among those written at home. Her poetic work of these years has undergone a significant change: it clearly marked a turn towards large-format canvases. Lyrics, in which its leading themes were predominantly preserved - love, creativity and Russia, only the latter took on a very definite nostalgic character - were replenished with such works as "The Poet" ("Poet - starts talking from afar. / Poeta - starts talking far.") , "An attempt at jealousy", "Speak", "I bow to the Russian rye.", "Distance: miles, miles." But still central location in the Czech works of the poet are poems - "The Poem of the Mountain" (1924, 1939) and "The Poem of the End" (1924). house layout

Thematically, the poems continue the love lyrics, but this is, as it were, another dimension of the topic, not only, of course, in quantitative terms, in the volume of the work, first of all, this is a different level of understanding the phenomenon of love. This is not a fixed emotion, but a philosophical and dramatic solution to the theme with elements (especially in the “Poem of the End”) of a tragic sound. Here an analogy arises with Mayakovsky's poems ("A cloud in pants", "Flute-spine", "About it").

Symbolically odd at first glance, the name "The Poem of the Mountain", it draws a sharp articulation of Tsvetaeva's poetic world along the vertical - from earth to sky, from everyday life to being. This mountain is real, it rises above the city (“at the end of the suburbs”), it is a place for walks of lovers or dooming themselves to a break, but the mountain is also a surge upwards, it is an immensity of feelings of love and pain, or, as the heroine will figuratively and accurately formulate for herself , "the height of delirium above the level of / Life". Clean, honest and insipid life, earthiness of life stop the rebellious impulse. As is always the case in Tsvetaeva's poetry, He clearly does not reach the level of the heroine, the personal principle is weakly present in Him. In general, he is rather only an object of application of Her passion. For example, in the “Afterword”, addressing Him, she speaks of Him, but only her Self shines:

I don't remember you separately

From love. Equality sign

But on the other hand, in a poor and cramped

Life - "life as it is" -

I don't see you together

None of them:

Memory revenge.

In The Poem of the End, Tsvetaeva once again plays out the same situation of the last meeting, the last joint passage of the characters across the stage. As in the "Poem of the Mountain" (both works are addressed to the same lyrical addressee), the very moment of the rupture of two hearts is captured: fear, pain, and the fading hope for the return of love, and a premonition of emptiness.

The most useless word:

We part. - One in a hundred?

Just a four syllable word

Behind which is emptiness.

Delighted, B. Pasternak, after reading The Poem of the End, wrote to Tsvetaeva: “With what excitement you read it! You're playing like a tragedy. Every breath, every nuance is suggested.

What a big, devilishly big artist you are, Marina! Pasternak owns a more detailed judgment about the poem, referring to the summer of the same 1926.

“The admiration for the Poem of the End was purest. The centripetal charge of the poem drew even the possible jealousy of the reader into the text, adding its energy. The Poem of the End is its own, lyrically closed world, approved to the last degree. Maybe this is also because the thing is lyrical and that the theme is carried out in the first person. In any case, here somewhere is the last unity of the thing. Because even the forceful, creative basis of its unity (dramatic realism) is subject to the lyrical fact of the first person: the hero is the author. And the artistic merits of the thing, and even more, the kind of lyrics to which the work can be attributed, are perceived in the Poem of the End in the form of a psychological characteristic of the heroine.

dedication

Tremble - and the mountains off your shoulders,
And the soul is grief.
Let me sing about grief:
About my grief.

Black neither today nor henceforth
I won't plug holes.
Let me sing about grief
At the top of the mountain.

That mountain was like a chest
Recruit, projectile dumped.
That mountain wanted lips
Virgin, wedding rite

That mountain required.
- Ocean in the ear
Suddenly-bursting cheers!
That mountain drove and fought.

That mountain was like thunder.
Let's play with the titans!
That mountain is the last home

That mountain was - worlds!
God charges dearly for the world!
The grief began from the mountain.
That mountain was above the city.

Not Parnassus, not Sinai -
Just a naked barracks
Hill. - Equalize! Shoot!
Why do my eyes
(It's October, not May)
Was that mountain a paradise?

As in the palm of your hand
Paradise - don't take it, if it's burning!
The mountain rushed under my feet
Potholes steep.

Like a titan paws
shrubs and needles,
The mountain grabbed the floors
Ordered: stop!

Oh, far from alphabetical
Paradise - drafts drafts!
The mountain brought us down,
Attracted: lie down!

Stunned under pressure
- How? Do not understand even today!
Mountain, like a matchmaker - holiness
Pointed out here...

Persephone's pomegranate seed!
How to forget you in the cold of winter?
I remember lips, double shell
Opened by mine.

Persephone, ruined by grain!
Lips stubborn crimson,
And your eyelashes are jagged,
And stars golden prong...

Not deceit - passion, and not fiction,
And do not lie - just do not last!
Oh, when would we come into this world
Commoners of love!

Oh, when b, sensibly and simply:
Just a hill, just a hillock...
(They say, craving for the abyss
Measure the level of the mountains.)

In heaps of brown heather,
In the islands of suffering needles...
(The height of the delirium above the level
life)
- On me! Is yours…

But families are quiet favors,
But babbling chicks - alas!
Because we came into this world -
Celestials of love!

The mountain grieved (and the mountains with clay
They grieve bitterly in the hours of parting),
The mountain mourned for the pigeon
The tenderness of our obscure mornings.

The mountain grieved for our friendship:
Lips - the most immutable relationship!
The mountain said that anyone
It will come true - by his tears.

The mountain also said that the camp -
Life, that the whole century on the hearts of the bazaar!
The mountain was still grieving: at least
With a child - let Hagar go!

She also said it was a demon.
It turns out that there is no intention in the game.
The mountain said we were dumb
They gave grief to judge.

The mountain grieved that only sadness
It will become - that now both blood and heat.
The mountain said it wouldn't let go
Nas, will not allow you with another.

The mountain grieved that only smoke
It will become - what is now: both the world and Rome.
The mountain said what to be with others
Us (I do not envy those others!).

The mountain grieved for a terrible load
An oath that is too late to curse.
The mountain said that that knot is old
Gordiev - duty and passion.

The mountain grieved for our grief -
Tomorrow! Not right away! When above the forehead -
No more memento 2 but simply - the sea!
Tomorrow, when we understand.

Sound ... Well, as if someone just
Well... crying up close?
The mountain grieved that apart from us
Down in such mud -

To the life we ​​all know
Rabble - market - barracks.
She also said that all poems
Gor - are written - so.

That mountain was like a hump
Atlas, the groaning titan.
That mountain will be proud
The city where from morning till night we

We beat our life like a card!
Passionate, do not be stubborn.
On par with the bear's ditch
And the twelve apostles -

Honor my gloomy grotto.
(The grotto was, and the waves jumped in!)
That game last move
Remember - at the end of the suburbs?

That mountain was - worlds!
The gods take revenge on their likenesses!
. . . . . . . . . . . . .
The grief began from the mountain.
That mountain on me is a tombstone.

Minutes of years, and here is the signified
Stone, flat replaced, removed.
Our mountain will be built up with dachas, -
The front gardens are embarrassing.

They say that on such outskirts
The air is cleaner and easier to live.
And they will go to cut out the patches,
Ruffle the crossbars.

String my passes,
All my ravines are upside down!

At home - in happiness, and happiness in the house!

Happiness - in the house! Love without fiction!
Without stretching lived!
It is necessary to be a woman - and endure!
(It was-it was when I walked,

Happiness is in the house!) Love, not brightened
No separation, no knife.
On the ruins of our happiness
The city will rise - husbands and wives.

And in the same blissful air
- While you can still - sin! -
There will be shopkeepers on holiday
Chew on the young ladies

Floors and moves to think -
So that every thread - to the house!
For it is necessary after all - at least someone
Rooftops with a stork nest!

But under the weight of those foundations
The mountain will not forget - games.
There are dissolute, there are no forgetful:
Mountains of time - at the mountain!

Through the stubborn crevices
The summer resident, grasping late, will understand:
Not a hillock, overgrown with families, -
A crater put into circulation!

Vesuvius vineyards
Do not bind! Giant flax
Don't tie! Of one madness
Mouth - enough to lion

The vineyards are turning
A stream of hate lava.
Your daughters will be girls
And poets - sons!

Daughter, child grow up illegitimate!
Son, piss yourself off to the gypsies!
Let there be no place of evil for you,
Telesa, on my blood!

Harder than a cornerstone,
The suicide oath on the bed:
- Yes, there will be no happiness for you,
Ants, on my mountain!

At an unknown hour, at an unforeseen time
Recognize with the whole family
Immense and huge
Mount the seventh commandment!

Afterword

There are gaps in memory
Before our eyes: seven veils...
I don't remember you - separately.
Instead of traits - a white failure.

No sign. White space -
All. (Soul, in solid wounds,
The wound is all over.) Particulars with chalk
Celebrating is the job of tailors.

The firmament is solidly founded.
The ocean is a collection of splashes?!
No sign. True - special -
All. Love is a connection, not a detective.

Crow, fair-haired suit -
Let the neighbor say: he is sighted.
Does passion divide into parts?
Am I a watchmaker or a doctor?

You are like a circle, complete and whole:
Whole vortex, full tetanus.
I don't remember you separately
From love. Equality sign.

(In heaps of sleepy fluff:
Waterfall, foam hills -
Novelty, strange to hear,
Instead: I - throne: we ...)

But on the other hand, in a poor and cramped
Life - "life as it is" -
I don't see you together
None of them:
- Memory revenge.

We place the text of the report of a student of class 10 B, read at the last Topaler readings (February 2016)

POLINA CHECHERINA. "Poem of the Mountain" by Tsvetaeva. Comment attempt.

Tremble - and the mountains off your shoulders,

And the soul is grief.

Let me sing about grief:

About my grief.

Black neither today nor henceforth

I won't plug holes.

Let me sing about grief

At the top of the mountain.

The word "mountain" in the title of the poem has many meanings, which is often found in Tsveta's poetry. e howl and in poetry in general.

The mountain is associated with both mythological and biblical stories, it has a divine T venous nature, like love itself.

In the first parts of the poem, the mountain is paradise, because on the mountain the lyrical heroine feels happy, the mountain - separate world, which is not connected with the surrounding space. This is manifested in the symbols associated with antiquity:

1) That mountain was like thunder!

Let's play with the titans!

Like a titan paws

Shrubs and needles -

The mountain grabbed the floors

Ordered: stop!

That mountain was like a hump

Atlas, the groaning titan.

The mountain here is equated with the titans, this speaks of its strength and greatness.

2) Vesuvius vineyards

Do not bind! Giant flax

Don't tie! Of one madness

Mouth - enough to lion

The vineyards are turning

A stream of hate lava.

Your daughters will be girls

And poets - sons!

The power of the Mountain is irresistible (like love itself):

3) Persephone's pomegranate seed!

How to forget you in the cold of winter?

Opened by mine.

Lips stubborn crimson,

And the stars of the golden prong ...

Persephone pomegranate seed. - Persephone - the daughter of Zeus and Demeter, who was abducted by Pluto, the god of kings T you are dead. In order to return to earth, Persephone did not have to eat anything, but she could not stand it and ate six pomegranate seeds that Pluto offered her. As punishment, she had to spend six months in the underworld. Persephone is associated with Olympus, and Olympus is the mountain where the gods live.

4) Tsvetaeva writes about the greatness of the mountain, but at the same time, she says that she foresaw all this, because she loved:

Not Parnassus, not Sinai -

Just a naked barracks

Hill. - Equalize! Shoot!

Why do my eyes

(It's October, not May)

Was that mountain a paradise?

The mountain is sacred only for the lyrical heroine, like her love. Other people don't remember the sacredness of the mountain because they don't love. These lines once again emphasize the uniqueness of the mountain, its distance from the whole world around. Military motives, motives of the army service and would and routine here also symbolize that the mountain is easy for ordinary people, but not easy for a lyrical heroine.

Oh, far from alphabetical

Paradise - drafts drafts!

The mountain brought us down,

Attracted: lie down!

Stunned under pressure

- How? Do not understand even today!

Mountain, like a bawd - holiness,

Pointed out here...

The mountain is not an alphabetical paradise, but a paradise because everything on the mountain is connected with love. Since h e love is complex, he cannot just be happy, because his love is complex and often but confused.

Not deceit - passion, and not fiction,

And do not lie - just do not last!

Oh, when would we come into this world

Commoners of love!

Oh when b, sensibly and simply:

Just a hill, just a hillock...

(They say - craving for the abyss

Measure the level of the mountains.)

In heaps of brown heather,

In the islands of suffering needles ...

(The height of the delirium above the level

life.)

- On me! Is yours…

But families are quiet favors,

But babbling chicks - alas!

Because we came into this world -

Celestials of love!

The mountain was love and happiness, but grief began with it. The motive of grief and imminent disintegration at the decision is present in the first parts of the poem, the mountain foresees misfortune, parting g e swarms:

The mountain grieved (and the mountains with clay

The mountain mourned for the pigeon

The tenderness of our obscure mornings.

The mountain grieved for our friendship:

Lips - the most immutable relationship!

The mountain said that anyone

It will come true - by his tears.

Again, the biblical one is visible: “To each one will be rewarded according to his deeds”

“Through tears” here means “through suffering”.

5) Sinai - the mountain on which God appeared to Moses and gave the 10 commandments. This is one of the O tives related to the Bible, with religious essence love.

6) Mountain - many worlds that God created, therefore, for this greatness of the mountain, you need and tit:

That mountain was - worlds!

God charges dearly for the world!

The grief began from the mountain.

That mountain was above the city.

That mountain was - worlds!

The gods take revenge on their likenesses!

The grief began from the mountain.

That mountain on me is a tombstone.

7) The mountain is holy because it was created by God:

Stunned under pressure

- How? Do not understand even today!

Mountain, like a bawd - holiness,

Pointed out here...

8) The mountain also said that the camp -

Life, that the whole century on the hearts of the bazaar!

The mountain was still grieving: at least

With a child - let Hagar go!

Hagar- the slave of the patriarch Abraham, who bore him a son, Ishmael. Hagar s s s nom were expelled at the request of the wife of the patriarch and settled in the desert.

9) The appearance of the twelve apostles in the poem is connected with the Bible:

We beat our life like a card!

Passionate, do not be stubborn.

On par with the bear's ditch

And the twelve apostles -

Honor my gloomy grotto.

10) The mountain was love and happiness, but grief began from it. The words "woe", "mountain" and "city" have different meanings, but are similar in sound, in this poem they are closely related by paronymy.

11) Although the mountain is a paradise, the motifs of blood, suffering, wounds are associated with it, because a person cannot simply understand love, it is always complex and filled with suffering (therefore, everyone will come true according to his tears). Wounds and blood occur after the destruction of g O ry and love itself, after parting:

Daughter, child grow up illegitimate!

Son, piss yourself off to the gypsies!

Let there be no place of evil for you,

Telesa, on my blood!

Harder than a cornerstone,

The suicide oath on the bed:

Ants, on my mountain!

12) Grief - a city that appears on the mountain after the parting of the heroes. The premonition of this grief, which will be associated with the city, is also at the beginning of the poem:

Sound ... Well, as if someone just,

Well… crying up close?

The mountain grieved that apart from us

Down in such mud -

Into the life we ​​all know about? We:

Rabble - market - barracks.

She also said that all the poems

Gor - are written - so.

Alliteration intensifies this grief[r] and [r]; [h] and [r]:

The mountain grieved (and the mountains with clay

They grieve bitterly in the hours of parting),

The mountain mourned for the pigeon

The tenderness of our obscure mornings

And

Persephone, ruined by grain!

Lips stubborn crimson,

And your eyelashes are jagged,

And the stars of the golden prong ...

13) The city is opposed to grief, this is misfortune, which is the opposite of A peace, peace and love. The city is a rabble and chaos in which sinners live. For development A The lines of happiness will be lined with houses in which people live and also dream of happiness. But on g O re will not be happy sinners, she will not allow it.

- Yes, there will be no happiness for you,

Ants, on my mountain!

At an unknown hour, at an unforeseen time

Recognize with the whole family

Immense and huge

Mount the seventh commandment!

(Seventh commandment - do not commit adultery)

14) But the mountain will be inhabited after the slab instead of the mountain lies above the lyrical heroine (according to Tsvetaeva's notes), when she dies. The motif of death occurs several times in the poem:

The mountain grieved for our grief -

Tomorrow! Not right away! When above the forehead -

Not anymorememento,but simply - the sea!

Tomorrow, when we understand.

That mountain was - worlds!

The gods take revenge on their likenesses!

. . . . . . . . . . . . . . . . . . . . . . . .

The grief began from the mountain.

That mountain on me is a tombstone.

15) Death here is a symbol of the fact that everything in this world changes, there is nothing eternal:

The mountain grieved that only smoke

It will become - what is now: both the world and Rome.

The mountain said what to be with others

Us (I do not envy those others!).

16) The mountain links the earthly world and heaven, eternity and holiness, love (like Mount Sinai). Love was not eternal, like a mountain, because the lovers did not stand the test, they are about T moved away from this eternity and returned to the changeable city. The city in the poem can be V thread with the sea that changes every moment:

The firmament is solidly founded.

The ocean is a collection of splashes?!

No sign. True - special -

All. Love is a connection, not a detective.

I remember lips, double shell

Opened by mine.

Shell lips are connected to the sea

17) Love for Tsvetaeva is whole and inseparable, if you love, then give everything with e for this feeling. For her, in love, the feeling itself is important, and not individual details:

You are like a circle, complete and whole:

Whole vortex, full tetanus.

I don't remember you separately

From love. Equality sign.

18) The poem mentions the number seven twice, which may have a special meaning here: this is the seventh commandment and seven veils lying on the eyes of the heroine (forgetfulness). The sacred meaning of the number seven can be associated with the genre of the poem, which is reminiscent of A some legend or tale, memory.

19) Since this poem is about love, through the poem one can understand Tsvetaeva's vision of love in general or love in a separate period of her life. Love is one and the same here e destructible (that is, a mountain). Love is inaccessible to sinners, it is very complex, and the happiness of people is often A ends because love is of divine origin. Love in this poem can be seen as a path from antiquity to Christianity, as a path from the city, which is changeable (like the sea), to heaven through the mountain, because it is indestructible. For this l Yu It is worth suffering, but happiness does not always come, tests must be endured.

May 08 2010

"The Poem of the Mountain" is a lyrical unity of authenticity and romance. The “mountain” referred to in the work is the real-life Petrin Hill in Prague (Tsvetaeva calls it Smichovsky Hill). At the same time, the "mountain" in the poem also has a lyric-romantic meaning. She is a synonym and symbol of Love. In the poetess, mountains are traditionally associated with the peak of feelings, their scale, avalanches. Recall the lines from the poem "Signs" (1924):

• Like a mountain carried in the hem
• Whole body pain!
• I know love by pain
• Whole body lengthwise.

Sometimes Tsvetaeva likens the “mountain” to itself, responding to the “calling” of a loved one with an “organ storm”.

• Will you manage? Steel and basalt
• Mountain, but an avalanche in the blue
• To your seraphic alto
• Will sing - the full accord of storms.
• And it will come true! - Be afraid!
• From a hundred To a hundred break ...
• Chu! To the call of a guttural singer
• I avenge myself with an organ storm!

The principle of poetic identification of the lyrical with any object or natural phenomenon (in the lines quoted from the poem “You don’t have to call out to her ...” (1923) - with a mountain, a volcano that cannot be disturbed) was outlined in the following diary entry (1924): “It is pointless to repeat (give a second time) - a thing that already exists. Describe the bridge you are on. Become the bridge yourself, or let the bridge become you - identify yourself or identify yourself. Of interest in this sense is the line from her letter to Pasternak (May 26, 1925): “When we meet, it’s true, mountain will meet mountain.”

"The Poem of the Mountain" was written in January 1924. It is addressed to K. B. Rodzevich, a man of great courage, charm and tragic fate. Acquaintance with him took place in Prague, where Rodzevich studied at the university. The result was touching and enduring. They were united by an unhealed homesickness and a passion for literature and art.

• The mountain grieved for our friendship:
• Lips immutable relationship!
• The mountain said that some needs
• It will come true - by his tears.

Like two fragile sailing ships that accidentally met in the chilling expanses of the ocean of Evil and reached out to each other in the hope of surviving and escaping, he and she, the lyrical heroes of the poem, found themselves far from their homeland, crippled by a cruel fate, tormented by anxieties and doubts, suddenly approached and understood that their salvation is in love. No prohibitions and conventions could stop their desire to be together, to extinguish living human feelings and passions. May there be curses and torment ahead, may imprisonment in the underworld, the share of the Greek goddess Persephone, the poem, not refuse the love bestowed by heaven.

“Persephone a pomegranate seed” is an ancient Greek motif about the abduction of the daughter of the goddess Demeter, Persephone, by the god of the underworld Pluto: in order to return to earth, Persephone had to give up food (human feelings, passions), but she could not stand it and swallowed six pomegranate seeds, that she was forced to spend in the realm of Pluto a long six months of the year.

The end of the poem is pessimistic. The heroine is desperate. So all the same, what then is the "Poem of the Mountain"? Confession of a broken heart? The cry of a soul tormented by loneliness? Romantic fantasy on love? Maybe the poetess herself will help to find the answer? Here are the lines from a letter to Pasternak (July 25, 1926): “There are things from which I am in a constant state of renunciation: the sea, love. The ocean is like a monarch, like a diamond: it only hears the one who is not it. And the mountains are grateful (divine)." The height of the mountains and the height of feelings. Is there an identity here? Hymn mountain peaks and peaks of love? Mountains are destroyed, and love is destroyed. But the memory remains of both. So, maybe the "Poem of the Mountain" is a hymn to the memory of Love?

On this note, we can complete the analysis of the lyric poem by Marina Tsvetaeva, providing an opportunity to reflect on a number of questions raised, which is extremely necessary, because reading a poetic work, according to Tsvetaeva, is co-creation. And to create means to think out, mentally add.