3Tashkent Medical Academy Integration of Science, Education and Practice in Modern Psychology,
Pedagogy: a Problem and Solutions
Toshkent tibbiyot akademiyasi Zamonaviy psixologiya, pedagogikada fan, ta'lim va amaliyot integratsiyasi:
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LITERARY ANALYSIS OF THE POETICS OF THE CYCLE "SWAN CAMP" BY MARINA TSVETAEVA
Amir Sapargaliy-uli Kalbaev
Teacher, Department of Pedagogy, Psychology and Languages, Tashkent Medical Academy, E-mail: [email protected]+
ABSTRACT:
The article analyzes the poetics of the "Swan Form" cycle by Marina Tsvetaeva and Tsvetaeva's attitude to the genre and thematic tradition in Russian literature.
Keywords: avant-garde, poetics, literary aspects, poetic forms, symbolism, visual means, genre, acmeism.
Introduction.
The cycle of poems "The Swan's Station" Marina Tsvetaeva is considered one of the most outstanding works in the history of Russian poetry of the XX century. "Swan camp" - Transitional cycle in the work of the poet, written in a transitional period of Russian history, failed in time political statement, which with frightening accuracy outlined the coming consequences of the revolution, lament about the White Movement - and a solemn ode in his honour, a creation that united Tsvetaeva-romantic and Tsvetaeva-citizen. The special place of "Swan Stan" in Tsvetaeva's work determined the choice of the research topic.
The main part.
The term "poetics" refers to the field of literary criticism that studies the technique and style of writing literary works, as well as literary forms and genres. Poetics involves analysing and describing various literary elements such as plot, characters, language, structure of a work, metaphors and symbols, rhythm and musicality of poems. All of this allows us to understand how an author creates his or her works, what techniques and styles he or she uses, the effect on the reader, and how the work fits into the literary context of his or her time and culture. Poetics helps to better understand and appreciate a literary work as a work of art.
Poetics may include the study of various aspects of literary creation, such as versification, metrics, rhythm, imagery, composition, style and other artistic techniques. The study of poetics enables literary scholars and critics to understand and analyse works of fiction in greater depth, to identify their thematic and stylistic
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features, and to assess the contribution of authors to the development of literature and culture as a whole. In addition, the study of poetics can help authors to improve their creativity and find new ways of expressing their thoughts and emotions.
"Poetics is the art of the word, consisting in the artist's ability to turn sound into meaning" - wrote Andrei Bely [1. Bely A]. This quote by Andrei Bely suggests that from the artist's point of view, poetics is the art of playing with words and sounds to express a certain idea or emotion. It emphasizes that a poet should not only use words, but also be aware of how they sound and how their sound can affect the reader. The artist's ability to turn sound into meaning means that the poet must be a master at using language to create beautiful, harmonious phrases that will make sense to the reader. It is also important to consider the context and the intended audience so that the words and sounds make sense and have the right impact on the reader. So, poetics is a high art of words that requires the poet to not only know the language, but also have a fine sense in using sounds and rhythm to convey their idea or emotion.
In this article, we will understand poetics as a literary discipline, the purpose of which is to study the structure of a work, its style and genre. "Swan Station" - is a cycle characterized by a rather complex poetics, which requires a deep study. Poetic features of the cycle are closely connected with the poet's attitude to genre and thematic traditions, with the poet's worldview and state of mind, so we will consider these aspects in separate paragraphs.
One of the leading genres of the cycle becomes a message: for example, there are poems dedicated to specific historical persons ("Kornilov", "Andrei Shenier"), there are poems dedicated to the fate of people who suffered in the course of historical events ("To Junkers Killed in the Lower"). A separate triptych is dedicated to Moscow. The lyrical heroine enters into a dialogue with it:
«- Голубочки где твои? - Нет корму.
- Кто унес его? - Да ворон черный.
- Где кресты твои святые? - Сбиты.
- Где сыны твои, Москва? - Убиты» [12. Tsvetaeva М].
The dialogue with Moscow in the second part of the poem is an ideological antithesis of the first part, where the author draws optimistic conclusions about the fate of the city:
«Не позабыли огненного пойла
Буонапарта хладные уста.
Не в первый раз в твоих соборах - стойла.
Всё вынесут кремлевские бока» [13. Tsvetaeva М].
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The poetic block dedicated to Moscow ends with an untitled poem, which brings Tsvetaeva's tragic mood after the revolution to the limit. Here the dialogue with Moscow no longer takes place (it ends in the first two parts on a tragic note), Tsvetaeva turns to the invaders of power, metaphorically calling them "the sole rulers of bayonets and souls", "the sole rulers of pennies and an hour" [14. Tsvetaeva M]. The author's intonation in this poem is very hysterical, and the poetics are distinguished by naturalism. The poetess comes to disappointing conclusions about the new government: "Sell - by weight - chapels, Monasteries - by auction - for scrap"; "We are under the rug for the word: Tsar!"; "Take your anger out on the domes! Selling us all for meat" [15. Tsvetaeva M]. However, ideologically, this poem, although it does not have a part number, still fits into the block about Moscow and forms a ring composition: in the first part, Tsvetaeva concluded that "the Kremlin sides will endure everything," and in the second she concludes that that "a noble slave will see - Race: Black bone - white bone." This conclusion seems to continue the poetess's idea that Moscow, Old Rus', will survive; Realizing and predicting that physically Rus' will no longer be able to withstand, the newly-minted blasphemous rulers will hasten to get rid of both the institution of the church and churches in general, Tsvetaeva believes that spiritually Rus' still cannot be killed - the Russian spirit will be preserved in the bearers of the "white bone". The images of the white bone and race are polysemantic: the most obvious interpretation in the context of the idea and images of the cycle is the bearers of the "white idea", the white movement, opposed to the rebellious mob, and the "race" is a special breed of aristocracy, "blue blood", which cannot be defeated, getting rid of her. However, Tsvetaeva cannot be reproached for being overly ideological, for absolutely praising the ideology of the tsar and the whites: "The monarchism of "Swan Camp," as well as the demonstrative aristocracy of this cycle, right down to the praise of the concepts of "race" (in the sense of "breed") and "white bone" , were thoroughly romantic" [2. Dushenko K]. The poetess herself noted the need for such an approach to her poems, which can be considered a political statement: "Democratic ideas for a poet are a game, like monarchical ideas, the poet plays with everyone. The only thing he doesn't play with is the word" [16. Tsvetaeva M]. (From the article "Balmont" (May 1920)). In the context of the fact that political ideas for Tsvetaeva are only a topic for creativity, another, less obvious, interpretation of the "white bone" is also possible: "Behind the visible opposition "rabble - white bone" hides a much more important opposition for Tsvetaeva "culture - barbarism". The same can be said about the work of the late
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Tashkent Medical Academy Integration of Science, Education and Practice in Modern Psychology,
Pedagogy: a Problem and Solutions
Toshkent tibbiyot akademiyasi Zamonaviy psixologiya, pedagogikada fan, ta'lim va amaliyot integratsiyasi:
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Blok, but Blok makes a choice in favor of "new barbarism" against the "old culture," while Tsvetaeva chooses culture and the knightly ethos" [3. Dushenko K].
Tsvetaeva is concerned with such philosophical questions as the fate of Russia throughout its entire historical path, the "roll calls" of modernity with the past - and their hidden reasons, the question of faith, the admissibility of cruelty, the legitimacy of Bolshevik power. The poetess develops her own, original view of the history of Russia, her own concept of what is happening: the foundation of Soviet power was laid by the Westerner Peter I with his innovative reforms. She probably also blames him for the fact that he became king illegitimately, against the wishes of the people (although this is already Tsvetaeva's exclusively subjective perception, which runs counter to objective reality). Tsvetaeva's whimsically highlighted "roll calls" between modernity and history are surprising and do not seem obvious: such as, for example, the comparison of the White movement and the Streletsky revolt, because the White movement, on the contrary, from the point of view of the law is legal, unlike the Streletsky revolt. In addition, the poetess reflects on the role of the king, his function, the nature of his power - and comes to the conclusion that the power of the king is from God, it is the highest power.
The cycle "Swan Camp" was greatly influenced by the symbolist tradition. Therefore, it is natural that the main visual and symbolic means of poetics becomes the image-symbol.
The central image-symbol of the cycle, contained in its very name, is the image of the Swan. This image is multifaceted: on the one hand, the swan is the embodiment of the White movement, but it is also Tsvetaeva's husband, and she is also her daughter Ariadne. It can be assumed that for Tsvetaeva, the swan is in general everything dear and bright that remains for her in life among the "ravens," another crosscutting image-symbol in the cycle. The meaning of this symbol turns out to be closely connected with the symbolism of the image and the color white among the people: "In the popular consciousness, the swan was a symbol of purity, devotion, and love (cf. "swan fidelity"). In Christianity, the image of a swan (dove) was associated with the soul of the righteous, with the crucified Christ. In folk mythology, the swan is the bird of death, since it was believed that a swan's cry portends death" [5. Nemchinova E]. As we can see, already in the popular imagination, the swan is a very polysemantic symbol, and Tsvetaeva realizes this polysemantic symbolism in her cycle as fully as possible. In addition, the semantics of color designation is associated with the images of swans and ravens: "White here also acts as a symbol of purity, innocence and Christianity, and black and red appears as a dark, destructive
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Tashkent Medical Academy Integration of Science, Education and Practice in Modern Psychology,
Pedagogy: a Problem and Solutions
Toshkent tibbiyot akademiyasi Zamonaviy psixologiya, pedagogikada fan, ta'lim va amaliyot integratsiyasi:
_mumovayechimlaL
principle, bringing death, chaos and suffering" [6. Nemchinova E]. As we see, ambiguity is inherent not only in specific images, but also in the colors themselves, (we remember that the white color was at the same time directly associated with the White movement, with the monarchy). We can say that the colors themselves in Tsvetaeva's cycle become independent symbols; The role of color designation as an artistic device turns out to be extremely great. Turning to J. Tressider's "Dictionary of Symbols," one can discover even deeper, non-obvious layers of interpretation of the "swan" symbol: "The swan is a romantic, controversial symbol of light, death, transformation, poetry, beauty and melancholic passion. A solar and masculine sign, an emblem of light, the white swan became the brilliant hero of Wagner's opera Loengrin (1848) and other stories about the swan knight. As an emblem of female tenderness, beauty and grace, the swan appeared at the ball.
Next, we will consider the semantic content and meaning in the cycle of the raven image. Tsvetaeva imbues this image with a well-known meaning: the raven is "in the Western European tradition, like its close relative the crow, a bird associated with death, loss and war" [10. Tresidder J]. All European connotations are included in the image-symbol: "In Europe, crows-vultures were the emblem of war, death, abandonment, evil and misfortune" [11. Tresidder J]. The pan-European idea of ravens correlated with popular consciousness. Crows are vultures, birds symbolizing a senseless war that brings evil and misfortune, numerous losses; in a political context, they are "red", the opposite of "white". Let us give an example of the implementation of the opposition "swan" - "raven" in a cycle: « - Где лебеди? - А лебеди ушли.
- Где вороны? - А вороны - остались.
- Куда ушли? - Куда и журавли.
- Зачем ушли? - Чтобы крылья не достались» [17. Tsvetaeva М].
At the end of the cycle, the crows and swans, antagonistic to each other, unite under the red flag - the flag of blood. War, as Tsvetaeva understands, washes away all differences:
«Белый был - красным стал:
Кровь обагрила.
Красным был - белый стал:
Смерть побелила» [18. Tsvetaeva М].
There are other symbolic images in the cycle, but these images are the most ambitious in meaning and content. As already noted, the colors in the cycle are also filled with symbolic content, and the versatility of interpretations is also appropriate
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Tashkent Medical Academy Integration of Science, Education and Practice in Modern Psychology,
Pedagogy: a Problem and Solutions
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here. The main colors of the cycle are red, black and white. The most obvious interpretation, based on the choice itself, is the colors as expressions of the balance of political forces: red and white. The meaning of the color black came from the journalism of those years: "The role of black as one of the antonyms of white, no less important than red, was fully consistent with the symbolism of color among anti-Bolshevik publicists" [4. Dushenko K]. The political interpretation removes the question of the atypical meaning of color designation for Tsvetaeva: "Black is associated with Tsvetaeva primarily with the concept of passion, which she highly values, <...> and white with dispassion"; "Black color is usually associated with the world of her lyrical subject, and white - with a world alien to her" [21. Zubova L]. Tsvetaeva herself previously wrote: "My common people's dislike for the color white (both marco and empty!)" [19. Tsvetaeva M].
As a poet, Tsvetaeva was outside of any traditions or schools. The poetess herself repeatedly wrote about this: "My fate - as a poet - in pre-revolutionary Russia was a self-willed, and partly involuntary, exclusion from the literary circle due to an early marriage to a non-writer, early and passionate motherhood, and most importantly - due to an innate aversion to all kinds of circles" [20. Tsvetaeva M]. Researchers also confirm Tsvetaeva's position outside the direction: "Marina Tsvetaeva's work does not fit into the framework of any one movement in the poetry of the twentieth century" [7. Skripova O]. It is important to note that this attitude to tradition not only emphasized the uniqueness of the poetess's talent, but also her inner desire for dialogue with other directions and tradition: "Nevertheless, Tsvetaeva's work "entered into dialogue" with the leading artistic trends of the era. The question of Tsvetaeva's creative method remains debatable. Tsvetaeva's creativity is associated with symbolism, acmeism, avant-garde, neo-romanticism" [8. Skripova O]. This dialogism is characteristic of Tsvetaeva in relation to themes and genres.
Analyzing the genre nature of the cycle "Swan Camp", we have already made a conclusion about its genre richness and genre mobility. Characterizing Tsvetaeva's attitude to the genre nature in the cycle, it should be summarized that she was drawn to the folk tradition, to the genres of folklore. If we consider Tsvetaeva's work as a whole, then for her as a poet the genres of lyric-epic poem and elegy were characteristic, which are practically not represented in "Swan Camp", apparently due to the strongly civil nature of the cycle. Tsvetaeva's favorite theme of love is expressed much less here, which also determined the choice of genre. However, the plot of "Swan Camp" should still be considered as lyrical-epic, as the embodiment of
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the unity of real events and Tsvetaeva's subjective feelings. In general, Tsvetaeva was always cramped within the framework of a lyrical poem, so she went into genre either into a poem or into a poetic cycle.
Thematically, the cycle "Swan Camp" combines the themes of revolution, Civil War, Motherland, history of Rus', time, death and immortality, faith. These themes are not entirely typical for Tsvetaeva, although in this sense she adheres to a certain thematic tradition (Blok is closest to the poetess in choosing these themes). For the earlier Tsvetaeva, who was not immersed in politics, the themes of love, self-expression, poet, and motherhood were much more important. With the cycle "Swan Camp," a thematic turning point in Tsvetaeva's work begins, associated with a turning point in her way of life: she experiences a series of tragedies, difficult events in the country and is forced to emigrate, and can no longer turn a blind eye to the cruel reality. Now the poetess will try to comprehend what happened and her place in this new world.
The uncertainty of the poetess's creative method determined the wealth of genres and themes in her work. Typically, the creative method in one way or another interprets a certain range of classical themes and genres (example: symbolism -lyrical genres, poetic cycles, themes of higher reality, love, God; critical realism - the leading genre - the novel, themes - social injustice, inequality, everyday life). For Tsvetaeva this was irrelevant; her creative freedom allowed her to diversify her works as much as possible with a wide range of themes and genres. Tsvetaeva's genre preferences indicate her attraction to folklore and its genres (the peculiarities of the language also speak about this). The thematic originality determines the unity of Tsvetaeva with her lyrical heroine, as well as the peculiarities of the poetess's way of life. The cycle "Swan Camp" differs in genre and thematically from Tsvetaeva's other works: she departs from her typical genre of poem and turns to a list of topics that have already been raised earlier in Blok's civil lyrics.
CONCLUSION.
The poetics of the "Swan Camp" cycle is quite complex and is characterized by a number of features that are realized at the level of genre, visual and symbolic means and represent the psychological and emotional state of the poetess. The cycle is distinguished by its rich genre nature: it includes not only lyrical poems, but also messages, a lullaby, a conspiracy, and an example of wail. The specificity of the genres reveals the folk "trace" in the cycle and shows that one of the goals of the
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Tashkent Medical Academy Integration of Science, Education and Practice in Modern Psychology,
Pedagogy: a Problem and Solutions
Toshkent tibbiyot akademiyasi Zamonaviy psixologiya, pedagogikada fan, ta'lim va amaliyot integratsiyasi:
_mummojaycm!^
cycle was to carry out dialogue in a broad sense: with loved ones, acquaintances, historical figures, the Russian people and Russia.
The main visual and symbolic means becomes the image-symbol, which is associated with the influence of symbolism on the cycle and the poetics of the cycle. The central images become symbols of the "swan" - "crows", Moscow, Rus', the Tsar. White, black and red colors, which are the main ones in the cycle and are interpreted both in the language of political statements and in the language of the people, are filled with symbolic content.
Tsvetaeva's attitude to genre and thematic traditions is characterized by its alienness: both to these traditions and to traditions and literary movements in general. However, the cycle is atypical for the poetess: genre-wise, she gravitates toward folk genres, and thematically, toward Blok's civic lyrics.
All the features of the cycle's poetics clearly reflect the psychological and emotional state of Tsvetaeva, who is in a deep life and spiritual crisis, separated from her husband and youngest daughter, forced to live in poverty and starve because of her political position. The special syntax, artistic techniques of silence and addresses express the author's hysterical intonation and the poetess's desire to overcome forced loneliness.
REFERENCES
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[3]. Dushenko K.V. "Swan Camp" and the legend of the "White Guard" // Literary journal - 2017. - P. 233.
[4]. Dushenko K.V. "Swan Camp" and the legend of the "White Guard" // Literary journal - 2017. - P. 223.
[5]. Nemchinova E.A. The theme of death and immortality in the book of poems by Marina Tsvetaeva "Swan Camp" // Bulletin of the Russian Peoples' Friendship University. Series: Literary criticism, journalism.- 2010. - P. 52.
[6]. Nemchinova E.A. The theme of death and immortality in the book of poems by Marina Tsvetaeva "Swan Camp" // Bulletin of the Russian Peoples' Friendship University. Series: Literary criticism, journalism.- 2010. - P. 52.
[7]. Skripova O.A. The evolution of the poetic system of Marina Tsvetaeva. -Ekaterinburg 2018. - P. 8.
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Tashkent Medical Academy Integration of Science, Education and Practice in Modern Psychology,
Pedagogy: a Problem and Solutions
Toshkent tibbiyot akademiyasi Zamonaviy psixologiya, pedagogikada fan, ta'lim va amaliyot integratsiyasi:
_mumovayechimlaL
[8]. Skripova The evolution of the poetic system of Marina Tsvetaeva. - Ekaterinburg 2018. - P. 9.
[9]. Tresidder J. Dictionary of symbols. - M.: Fire-Press, 1999. - P. 187.
[10]. Tresidder J. Dictionary of symbols. - M.: Fire-Press, - P. 49.
[11]. Tresidder J. Dictionary of symbols. - M.: Fire-Press, 1999. - P. 50.
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[15]. Tsvetaeva M. Swan camp. - Munchen: ImWerdenVerlag, 2006. - P. 10.
[16]. Tsvetaeva M.I. Collected works in 7 vols. - M.: Ellis Luck, 1994. - vol. 4. - P. 9
[17]. Tsvetaeva M. Swan camp. - Munchen: ImWerdenVerlag, 2006. -P. 16.
[18]. Tsvetaeva M. Swan camp. - Munchen: ImWerdenVerlag, 2006. - P. 29.
[19]. Tsvetaeva M.I. Unreleased. Notebooks: In 2 vols. - M.: Ellis Luck, 2000. - T. 1. - P. 243.
[20]. Tsvetaeva M.I Collected works in 7 vols - M.: Library of Russian Classics, 2010. - T. 4. Diary prose; From notebooks and notebooks; Answers to questionnaires; Interview. - Book 1. - P. 188.
[21]. Zubova L.V. Poetry of Marina Tsvetaeva: Linguistic aspect. - L.: Leningrad State University Publishing House, 1989. - P. 117-118.
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