Marina Tsvetaeva. Snatching the older one out of the darkness, she didn’t save the younger. Part 3
Children in the life of Marina Tsvetaeva are the subject of bitter disputes among researchers of the poet's biography and work. Tsvetaeva was not a good mother in the generally accepted sense. Nevertheless, the upbringing given by Marina to the eldest daughter Ariadne became the key to her survival in the terrible conditions of Stalin's prison and hard labor. The youngest daughter Marina could not be saved.
Part 1 - Part 2
To love is to see a person as God intended
and the parents did not.
Marina Tsvetaeva
Marina, thanks for the world! (A. Efron)
Children in the life of Marina Tsvetaeva are the subject of bitter disputes among researchers of the poet's biography and work. Tsvetaeva was not a good mother in the generally accepted sense. Nevertheless, the upbringing given by Marina to the eldest daughter Ariadne became the key to her survival in the terrible conditions of Stalin's prison and hard labor. The youngest daughter Marina could not be saved.
***
In early 1919, famine in Moscow became a reality. Marina is saved by good health, a Spartan character and a happy opportunity to give her youngest daughter Irina to the village for a while. Tsvetaeva is left alone with six-year-old Alei-Ariadna. Alya's amazing child, many considered her a child prodigy, most likely, she was like that. From an early age, the girl was accustomed to keeping a diary, her notes are an inexhaustible source of amazing revelations from childhood. How does the urethral mother bring up?
The episode is still from peacetime. Alya with Marina at the circus. Clowns are so funny, they jump, fight, someone falls, their pants burst, their bellies and butts swell, the audience laughs at this, and Alya laughs too. And then “with her palms that have become iron, she (Marina) turned my face away from the arena and quietly, furiously rapped out:“Listen and remember: anyone who laughs at the misfortune of another is a fool or a scoundrel; more often than not, both. When a person gets into a mess, it's not funny; when a person is doused with slop - it's not funny; when a person loses his pants it is not funny; when a person is beaten in the face, it is mean”. Ariadne remembered an object lesson for the rest of her life, as well as the fact that her mother's statement did not directly relate to clowns.
Marina did not like coloring books: draw yourself, then paint. The element of passive copying was expelled from the entire system of teaching her daughter, Alya did not take out sticks and hooks, did not repeat the recipes, Marina taught to read at once, not by letters and words, but by recognizing the whole word. Thus, the girl received an incentive to independent creativity, and instead of cramming, which was ineffective for her, she developed visual memory and observation skills, which are noticeable in such children from a very early age, but in the process of traditional learning, based on memorization, is almost completely lost.
Marina is a strict and demanding educator, and, at first glance, she repeats her mother in this. But from within the mental, Marina is completely different, and her daughter is of a different vector composition, therefore the result of the influence is different. Marina, with all the passion of her temperament, is engaged in the development of a polymorphic girl, trying to give her as many skills as possible for life. She generously gives Ale what she does not even possess herself - she develops in her daughter the ability to adapt and survive, that is, again, faithful to her mental structure, she gives out of lack. Marina is spiritually close to Alya, their mutual love knows no boundaries, Marina does not regret words of admiration for her daughter, for Ali the mother is a deity.
At the level of the mental unconscious, such a relationship can be explained by the mutual attraction of the mother's urethral vector and the daughter's optic cutaneous ligament. Tsvetaeva tries to convey her fearlessness to her daughter and intuitively develops her correctly, bringing the fears of little Ariadne out into love. Much later, in 1962, recalling her childhood years, Ariadne Efron wrote: "Lord, what a happy childhood I had and how my mother taught me to see …" And then, at less than seven, the lines appear in the girl's notebook:
The roots are entwined
The branches are entwined.
The forest of love.
Such sensations from a hungry, cold, unsettled time were kept by the girl next to her mother, safe, no matter what. A terrible time will come in Ali's life, but the ability to love and the fearlessness fostered by Marina will lead Ariadne out of the most hopeless labyrinth. Ariadne Efron will spend eighteen years in prison and exile. He will survive and devote the rest of his life to collecting the mother's archive and publishing her poems.
Snatching the eldest from the darkness, she did not save the youngest … (M. Ts.)
There was no food, except for rotten potatoes, and the doors and stairs of the apartment in Borisoglebskoye were dismantled for firewood. It became clear that Marina could not help children. Kind people advised an exemplary orphanage in Kuntsevo, where they are fed with American food sent to Russia as humanitarian aid. Tsvetaeva agreed, punished Ale to eat more, and in response she assured her mother that she would save food for her from future abundance.
When Marina came to visit the girls, Alya tossed about in the typhoid heat. Marina, in her arms in a blanket, dragged her dying daughter home. I nursed her for several days, God knows how and with what. And soon the terrible news came - Irina died at the orphanage. She died of hunger. It turned out that the orphanage was headed by a subhuman who filled his pockets at the expense of children. The kids in the "model shelter" were not fed.
The new urethral libertine who came to replace the old government has not yet had time to develop its own code of honor. Savvy people, for whom the future is nothing against the momentary profit, shamelessly profited from human misery. In terms of system-vector psychology, these are carriers of an undeveloped skin vector, carrying out an archetypal production program at any cost. Only a developed society can take them under control, where the law common to all and social shame within everyone works. At the moment of a revolutionary change of formations, cultural developments, including social shame, are swept away instantly, instead of society, a primitive savannah appears, where everyone survives as best he can.
“Now I understand a lot: my adventurism is to blame for everything, my easy attitude to difficulties, finally - my health, my monstrous endurance. When it’s easy for yourself, you don’t believe that it’s difficult for someone else…”- writes Marina much later about the death of her daughter. In that terrible year, Marina was silent for a long time: no poetry, no letters - nothing. There was no news from her husband, the sea was familiar, but everyone somehow drifted away into their worries about survival. Marina plunged into complete hopelessness, where the only connection with life was the need to take care of the eldest daughter, "a mortal need."
Perhaps the only person close to Marina at that time is Konstantin Balmont, she calls him brother …
On hungry days, Marina, if she had six potatoes, brought three to me (K. Balmont))
“I am happily walking along Borisoglebsky lane leading to Povarskaya. I go to Marina Tsvetaeva. It is always so joyful for me to be with her when life squeezes especially unmercifully. We joke, laugh, read poetry to each other. And although we are not at all in love with each other, it is unlikely that many lovers are so tender and attentive to each other when they meet."
They are not in love, but due to the equality of properties, the poets have a complete understanding of each other. The rebellious Balmont, the conqueror of women's hearts, loves children and Russia, his addicting nature does not tolerate any restrictions. They always have fun with Marina, like children, equally ready for play, pampering or heroism. Tsvetaeva writes that with Balmont she would like to live in Paris in 1793, it would be delightful to climb the scaffold with him there!
The readiness for selfless natural bestowal to anyone in need makes the two poets related in terms of lower vectors; in sound and vision, they merge almost completely in terms of the degree of development and realization. Little Ariadne somehow confesses to Konstantin Dmitrievich that in her eyes he is a beautiful prince. And what? Balmont immediately offers her his hand and heart! Smart Alya refuses diplomatically: "You don't know me at all in everyday life." Do not remind the prince that he is married to a third marriage! Both funny and revealing.
Balmont is not stopped by such conventions. With all his wives and girlfriends, Konstantin Dmitrievich, in an incomprehensible way, maintains a wonderful relationship. He also has fiery feelings for Marina: "If you ever feel free …" And her too hasty, categorical: "Never!" For two years there has been no news from Sergei, but Marina is firmly convinced: she is not a widow. Balmont immediately translates everything into a joke - what a wonderful child Tsvetaeva and Balmont would have!
Well, friends are so friends! In addition, another generous gift is at the ready: seven cigarettes in the poet's pocket in the era of war communism - an unheard of wealth, which both immediately smoke. Marina carries a few potatoes in response and makes them eat.
Can't get anything for nothing
Take - let's move the mountain!
“Balmont always gave me the last. Not me - everyone. The last pipe, the last crust, the last match. And not out of compassion, but all from the same generosity. From natural - royalty. God cannot help but give. The king cannot but give. Let's add from system-vector psychology to Marina's words: the urethral leader cannot but give - this is a property of his nature. Urethra are rich even in complete poverty. Already in exile in Paris, Balmont imperceptibly put money in the pockets of his needy friends visiting him, although he himself was not luxurious at all.
When Marina Tsvetaeva is accused of being too loving, this refusal to Konstantin Balmont is always recalled. Why? A swarm of skin-visual men of varying degrees of (under) development swirled around Marina - “I loved many, did not love anyone”. They came and went, feeding her creativity, and thus remained in the annals of history. Here is an equal, "handsome regal" - and refusal. Maybe she felt that if she went into this relationship, “too many would have been carried away by a wave of their crazy passion”? First of all - Sergey.
Continuation.
Other parts:
Marina Tsvetaeva. My hour with you is over, my eternity remains with you. Part 1
Marina Tsvetaeva. The leader's passion is between power and mercy. Part 2
Marina Tsvetaeva. I will win you back from all lands, from all heavens … Part 4
Marina Tsvetaeva. I would like to die, but I have to live for Moore. Part 5
Marina Tsvetaeva. My hour with you is over, my eternity remains with you. Part 6
Literature:
1) Irma Kudrova. The path of the comets. Book, St. Petersburg, 2007.
2) Tsvetaeva without gloss. Pavel Fokin's project. Amphora, St. Petersburg, 2008.
3) Marina Tsvetaeva. Captive spirit. Azbuka, St. Petersburg, 2000.
4) Marina Tsvetaeva. Books of poetry. Ellis-Lak, Moscow, 2000, 2006.
5) Marina Tsvetaeva. House near Old Pimen, electronic resource tsvetaeva.lit-info.ru/tsvetaeva/proza/dom-u-starogo-pimena.htm
