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Lesson “Poetry of M.I. Tsvetaeva as a lyrical diary of the era

Goals: introduce you to the life and work of the poetess; to awaken students' interest in Tsvetaeva's personality and her works, to develop monologue speech and expressive reading skills, the ability to speak in front of an audience, lecture note-taking skills, to awaken a sense of pride in the richness and diversity of the work of this unique poet.

During the classes

Teacher's word. “It’s difficult to talk about such immensity as a poet. Where to start? Where to end? And is it even possible to begin and end if what I’m talking about: Soul - is everything - everywhere - forever.” (Marina Tsvetaeva. “A Lay on Balmont” ")"

To my poems, written so early,
That I didn’t know that I was a poet,
Falling off like splashes from a fountain,
Like sparks from rockets
Bursting in like little devils
In the sanctuary, where sleep and incense are,
To my poems about youth and death
- Unread poems! -
Scattered in the dust around the shops
(Where no one took them and no one takes them),
My poems are like precious wines,
Your turn will come.

2 student . There were reasons for such confidence, because Russian culture itself raised the future poet. Marina Tsvetaeva's father, Ivan Vladimirovich Tsvetaev, a professor at Moscow University, art historian and philologist, later became director of the Rumyantsev Museum and founder of the Museum of Fine Arts. Mother, Maria Alexandrovna Main, came from a Russified Polish-German family, was a talented pianist, and the great composer Anton Rubenstein admired her playing. The home world was permeated with a constant interest in art and music. And so on September 26, 1892, in the old Moscow Trekhprudny lane, in house No. 8, the star of Russian poetry lit up - Marina Tsvetaeva was born.

Red brush
The rowan tree lit up.
Leaves were falling
I was born.
Hundreds argued
Kolokolov.
The day was Saturday:
John the Theologian.
To this day I
I want to gnaw
Roast rowan
Bitter brush.

1 student. Maria Alexandrovna dreamed of a son, even the name was chosen - Alexander. But a girl was born. M. Tsvetaeva wrote in her memoirs: “When, instead of the desired, predetermined, almost ordered son Alexander, only I, the mother, was born: she said: “At least there will be a musician.” When the first, obviously meaningless: word turned out to be “gamma”, my mother only confirmed: “I knew it,” and immediately began to teach me music: “I can say that I was born not into life, but into music.”

(Audio recording of the poem)

Who is made of stone, who is made of clay -
And I’m silver and sparkling!
My business is treason, my name is Marina,
I am the mortal foam of the sea.
Who is made of clay, who is made of flesh -
The coffin and tombstones...
- Baptized in the sea font - and in flight
Its own - incessantly broken!
Through every heart, through every network
My willfulness will break through.
Me - do you see these dissolute curls? -
You can't make earthly salt.
Crushing on your granite knees,
With every wave I am resurrected!
Long live the foam - cheerful foam -
High sea foam! (analysis of verse - 1 group)

2 student. The mother rejoiced at her daughter’s extraordinary musical abilities and dreamed of raising her to be a pianist. But the girl was only four years old when Maria Alexandrovna wrote in her diary: “The eldest keeps walking around and muttering rhymes. Maybe my Marusya will be a poet?” Marina Ivanovna herself will say about herself: “I’ve been writing poetry since I was 6 years old. I’ve been publishing since I was 16.”

1 student. After the untimely death of her mother (Marina was only 8 years old at the time, her younger sister Asya was 6), interest in music gradually fades away, but another passion - poetry - grows stronger. Young Tsvetaeva writes poetry not only in Russian, but also in German and French. Do not borrow anything from anyone, do not imitate, do not be subject to alien influences, “be yourself” - this is how Tsvetaeva came out of childhood and remained this way forever.

Marina published her first book, “Evening Album,” for non-literary reasons; as she herself said later - “in exchange for a love confession to a person with whom she could not explain herself otherwise.” It’s the beginning of the winter of 1911. A great many collections of poetry were published then. And yet, the first book by the still unknown Marina Tsvetaeva immediately received critical responses. The first to evaluate the book, and very positively, was the poet Maximilian Voloshin.

2 student. Sergei Efron: They met on May 5, 1911 on the deserted Koktebel shore. “Looking into his eyes and reading everything in advance, Marina made a wish: if he goes and gives a carnelian, then she will marry him. Of course, he found this carnelian immediately, by touch, for he did not take his gray eyes off her green ". Marina Tsvetaeva and Sergei Efron got married on January 27, 1912. Sergei gave his beloved a ring, on the inside of which the wedding date and the name Marina were engraved.

(Reading and analysis of verses – group 2)

I wear his ring defiantly!
- Yes, in Eternity - a wife, not on paper! -
His face is too narrow
Like a sword.
His mouth is silent, with its corners downward.
The eyebrows are excruciatingly gorgeous.
Tragically merged in his face
Two ancient bloods.
It is thin with the first thinness of its branches.
His eyes are beautiful and useless! -
Under the wings of outstretched eyebrows -
Two abysses.
In his face I am faithful to chivalry,
- To all of you who lived and died without fear! -
Such - in fatal times -
They compose stanzas and go to the chopping block.

1 student. Then Marina did not yet know how much grief her faithful, sacrificial, reckless love would bring her and her children. : And in general, her poems about love are most often tragic. Tsvetaeva is convinced: a woman is always right when she suffers, a woman is always beautiful when she loves. No one better saw, experienced and conveyed the spiritual beauty of all the abandoned, fallen out of love, abandoned Lovers.

2 student Tsvetaeva was familiar with many poets of the early 20th century. She admired the poems of Bryusov and Pasternak, Mayakovsky and Akhmatova. But her poetic idol was Alexander Blok. Tsvetaeva saw him twice, during his performances in Moscow on May 9 and 14, 1920, but did not dare to come up to meet him. Marina carried her admiration for the poet, whom she called “a complete conscience,” throughout her life.

(Reading and analysis of verses – group 3)

Your name is a bird in your hand,
Your name is like a piece of ice on the tongue.
One single movement of the lips.
Your name is five letters.
A ball caught on the fly
Silver bell in mouth.
A stone thrown into a quiet pond
Sob as your name is.
In the light clicking of night hooves
Your big name is booming.
And he will call it to our temple
The trigger clicks loudly.
Your name - oh, you can’t! -
Your name is a kiss in the eyes,
In the gentle cold of sliding eyelids.
Your name is a kiss in the snow.
Key, icy, blue sip.
With your name - deep sleep (analysis)

1 student. Many years of friendship connected Marina Tsvetaeva with Boris Pasternak. For her, he was the only person on earth who could hear and support her without words in a moment of despair.

Distance: versts, miles:
We were placed, we were placed,
To be quiet
At two different ends of the earth.
Distance: versts, distance:
We were unstuck, unsoldered,
They separated him in two hands, crucified him,
And they didn’t know that it was an alloy
Inspirations and tendons:
They didn’t quarrel - they quarreled,
Layered:
Wall and moat.
They settled us like eagles -
Conspirators: versts, distances:
They weren't upset - they were confused.
Through the slums of the earth's latitudes
They treated us like orphans.
Which one, oh which one - March?!
They broke us - like a deck of cards (analysis - group 4)

1 student. In 1922, Marina Tsvetaeva, exhausted by a long separation from her husband, went abroad with her daughter to Sergei, who found himself in the ranks of the white emigration.

The emigration met Tsvetaeva as a like-minded person. But then everything changed. Emigrant magazines gradually stopped publishing her poems. A blank wall of loneliness closed in more and more closely around me. “My reader remains in Russia, where my poems do not reach...” wrote Marina Tsvetaeva. While in exile for 17 years, she constantly thought about her homeland. In 1934, the amazing poem “Homesickness” was written:

Homesickness! For a long time
A hassle exposed!
I don't care at all -
Where all alone
To be on what stones to go home
Wander with a market purse
To the house, and not knowing that it is mine,
Like a hospital or a barracks.
So the edge didn’t save me
My, that and the most vigilant detective
Along the whole soul, all across!
He won’t find a birthmark!
Every scrap is alien to me, every temple is empty to me,
And everything is the same, and everything is one.
But if there is a bush along the way
Especially the mountain ash stands up:

2 student. During these same years, Marina wrote: “I have never been as lonely as this five-year anniversary. At home I am like a “guardian of carelessness” - the most profitable role. All day long, watching, guiding and all the little things:

1 student. “I don’t have a person to whom I could come in the evening, having put the day off my shoulders, who, opening the door, would certainly rejoice at me. Not a single person whom I don’t have to first ask: “Can I?” Nobody needs me here ".

2 student. In 1936 - 1937, Tsvetaeva was already preparing to leave for her homeland. Ariadne left first, followed by Sergei Yakovlevich. In the summer of 1939, Marina returned to Russia with Georgy.

It was then that our country experienced a time of cruel and merciless terror. Sergei Yakovlevich and Alya were accused of treason and arrested.Yelabuga, where Tsvetaeva spent the first months of evacuation, became Marina’s last place of residence. There was nothing, not even work.

1 student. The separation of her son, who painfully experienced the terrible troubles that befell him, sharply aggravated Marina’s loneliness. She continued to work: she prepared a collection and translated a lot.

But there was no more Sergei! She didn't know what was wrong with her daughter. A gap grew between her and her son. The meeting with reading Russia did not take place.

On this note of final despair, M. Tsvetaeva’s work ended. What’s left is simply human existence - and not enough of that:

Teacher. She turned out to be right. Today, Tsvetaeva’s turn has come for strong, complex real poetry, because the real does not die in art.

Homework:

1. Analysis of the poems “I wear your ring with a challenge” (1914) “You’re coming, you look like me:” (1913) “So many of them have fallen into this abyss:” (1913), “Opened the veins: unstoppable:” (1934) , "Elderberry" (1931-1935)

Lessons №№

Lyrics by M. Tsvetaeva (1892-1941) . Poetry of M. Tsvetaeva as a lyrical diary of the era. Confessional coloreTaevskayalyrics.

Andyah M. Tsvetaeva.

Explanatory note

The study of Russian poetry of the early 20th century allows us to perform a comparative analysis of the development of a traditional theme in literature - the theme of Russia - in the works of A. Blok and S. Yesenin, M. Tsvetaeva and A. Akhmatova.

Lesson-seminar on the topic: “M.I. Tsvetaeva. Lyrics. The theme of Russia is the most important in the poetess’s work” is carried out on the basis of independent work in small groups. The tasks for each group are designed so that students conduct an independent study of the development of the theme of Russia in Tsvetaeva’s work, conditioned by the tragedy of the personal fate of the poetess and the fate of an entire generation who were destined to go through the ordeal of emigration, and to find themselves “in a foreign land” in their homeland.

The stages of working on lesson material help develop independent work skills, interest and creative imagination, and cognitive activity of students:

acquaintance with the biography of Marina Tsvetaeva and her passion for literature and Russian culture;

Tsvetaeva's first poetry collections and their recognition

M. Voloshin;

the love story of Marina Tsvetaeva and Sergei Efron and worship of her husband;

development of the theme of Russia during the period of emigration (poems addressed to his son);

the poetess’s desire to return to her homeland and the return of her historical homeland to her son;

comparative analysis of the poems “Motherland” and “Longing for the Motherland! For a long time…";

create crossword puzzle questions on the topic of the lesson and answer the questions;

learn by heart one poem by the poetess (developing the skill of expressive reading of a poetic text).

The topic of the relationship between the poet and the state is very painful for many generations of Russian writers and poets. A significant place in the lesson is occupied by the reading of poems by Marina Tsvetaeva - from the first, youthful “My poems written so early...” to the philosophical “Longing for the Motherland! It’s been a long time…” and “My Russia, Russia, why are you burning so brightly?”

Study of the theme of the tragic fate of the poet in the tragic period of the historical fate of Russia (cooperative teaching method)

Card-dictionary of literary terms

GOAL: to introduce students to the personality of the poetess, her creative heritage;

improve independent work in small groups based on advanced tasks on the topic of the lesson;

improve work on the development of the theme of the Motherland in Russian poetry of the early 20th century;

to form in students an idea of ​​the fate of a creative personality in a totalitarian state.

TYPE OF LESSON : learning new material based on independent work; lesson - seminar.

METHODS OF CONDUCT: conversation, research - work on a comparative analysis of poems, dialogical - individual and group assignments on the topic.

INTER-SUBJECT RELATIONS:

Russian history. Russia at the beginning of the twentieth century. Russian emigration after the October Revolution of 1917. Culture of Russia in the first half of the twentieth century.

VISUALITY, TSO: portrait of M.I. Tsvetaeva, collections of poems, an exhibition on the topic of the lesson, a video fragment of “Marina Tsvetaeva’s Tarusa”, a book of memoirs by Anastasia Tsvetaeva, information cards.

EPIGRAPH FOR THE LESSON: Scattered in the dust around the shops.

(Where no one took them and no one takes them!)

My poems are like precious wines,

Your turn will come. M. Tsvetaeva (1913)

“My Russia, Russia,

Why are you burning so brightly?” M. Tsvetaeva (1931)

NOTES ON THE BOARD:

Do you agree with M. Tsvetaeva’s statement that“all modernity is in the present - the coexistence of times, ends and beginnings, a living knot - a catOjust cut it down.”

VOCABULARY: comparisons, metaphor.

I . Organizational moment

1. Checking the presence and readiness of students for the start of the lesson.

2. Preparing students to perceive new material.

3. Statement of the topic and purpose of the lesson.

II. Introductory speech by the teacher

1. Students read the poem “To my poems written so early...”

2. Against the background of a video fragment, the teacher explains why it is necessary to refer to the facts of the biography of M. Tsvetaeva.

III. Learning new material based on advanced tasks.

A. Leading tasks

Topic: “M.I. Tsvetaeva. Life. Creation. Courtbba"

B. Work on advanced tasks in small groups (if completedeDuring the task, the participation of the entire group and each participant in it is taken into account).

A. 1. Marina Ivanovna Tsvetaeva was born on September 26, 1892 in Moscow in the family of a professor at Moscow University, founder and director of the Museum of Fine Arts (now the Pushkin Museum of Fine Arts) Ivan Vladimirovich Tsvetaev. Mother - Maria Alexandrovna Main - from a Russified Polish-German family, one of Nikolai Rubinstein’s gifted students. “Mom and dad were completely different. Everyone has their own wound in their heart. Mom has music and poetry, dad has science.”

2. Marina Tsvetaeva wrote about her birth in a poem:

The rowan tree lit up with a red brush,

Leaves fell, I was born.

Hundreds of bells were arguing.

The day was Saturday John the Theologian.

"With a red brush...")

3. Due to the mother’s illness, the family often had to move from place to place, including abroad. Marina spent her childhood in Trekhprudny Lane in Moscow and at her dacha on the Oka River, near the city of Tarusa, Kaluga province. At the age of 16, Marina made her first independent trip - to the Sorbonne, where she took a course in the history of Old French literature. At the same time, she helped her father create a museum - “the family’s favorite brainchild.” After the death of her mother, Marina, who spoke excellent German and French, practically conducted all of her father’s foreign correspondence.

4. Sisters Marina and Anastasia were orphaned early. The mother died of tuberculosis when the eldest was 14 years old, and the youngest was 12. In the summer of 1906, returning after another treatment, before reaching Moscow, Maria Alexandrovna dies.

B. 1. She began publishing at the age of 16; three books were published before the revolution in Russia.Andgi of her poems: “Evening Album” (1910), “Magic Lantern” (1912), “From Two Books” (1913). The first collection of poetry was published in 1910, when Marina was studying at the gymnasium. During a trip to Koktebel she meets Maximilian Voloshin.

In 1913, father Ivan Vladimirovich died.

2. The main advantage of the first poetry collections “Evening Albbom" and "Magic Lantern" is that they revealed a preciousnHer greatest quality as a poet is the identity between personality and word. Maximian Voloshin highly praised the first collection of poetry, saying:

Your book is news “from there”,

Good morning news...

I have not accepted miracles for a long time...

But how sweet it is to hear: “There is a miracle!”

(The student reads a poem "You look like me")

3. In the 20s, two books with the same title “Versts” were published, in which lyrics from 1914-1921 were collected. One of the books did not receive recognition not only among readers, but also in poetry circles.

(The student reads a poem "Who is made of stone...")

IN 1. The love story of Marina Tsvetaeva and Sergei Efron(listening to individual assignments).

In Koktebel, she meets her future husband Sergei Efron, who is 17 years old. Six months later they got married. In 1912, the second book of poems, “The Magic Lantern,” was published and the first daughter, Ariadne, was born. Tsvetaeva addressed more than 20 poems to Sergei Efron. Here are the lines from Marina’s letter: “He is extraordinarily and nobly handsome, he is beautiful externally and internally, he is brilliantly gifted, intelligent, noble. Soul, manners, face - all like my mother. And his mother was a beauty and a heroine.” She drowned in happiness, believed in the fabulousness of life and the eternity of love. Love changed her appearance and illuminated the poetry of Marina Tsvetaeva.

(The student reads a poem "Waiting on dusty roads")

2. The appearance of Sergei reflected the magnificent and worthy faces of heroes from the past, therefore the poem, written on December 26, 1913, was addressed to Tsvetaeva to the generals of the twelfth year, but dedicated to her husband:

All heights were too small for you

And soft is the staleest bread,

O young generals

Their destinies.

(The student reads a poem "Generals of the twelfth year")

G. The beginning of the development of the Russian theme in the works of M. Tsvetaeva connected with Moscow, in which she felt at ease and happy, despite the experiences and inconveniences of life. A cycle of poems about Moscow is Marina Tsvetaeva’s Moscow: ancient and majestic, proud and heroic, traditional and folk.

"Poems about Moscow")

D. 1. Years of emigration and exile 1922-1939. Marina Tsvetaeva's husband Sergei Efron was an officer, fought in the volunteer army and emigrated along with the remnants of this army. Rejection of the collection “Versts” and a feeling of uselessness in Russia, the unknown fate of her husband, domestic instability, the death of her daughter, and hunger were the main reasons for her emigration.

The cycle of poems “Swan Camp” is dedicated to the White Army. This is a requiem for doomed sacrifice to the white movement, a requiem for a husband’s sorrowful journey. They met in Berlin, moved to Prague, where they lived for three years, and then went to France, where they lived for thirteen and a half years.

2. The tragedy of the loss of the Motherland results in Tsvetaeva’s emigrant poetry in contrasting herself - Russian - with everything non-Russian and therefore alien. The individual “I” becomes part of the single Russian “we”:

My Russia, Russia,

Why are you burning so brightly?

(The student reads a poem "Luchina")

3. The main motive is the tragic sound of the loss of the Motherland, orphanhood, and especially - longing for the Motherland:

Every house is foreign to me, every temple is empty to me,

And everything is equal, and everything is one.

But if there is a bush along the way

Especially the rowan tree stands up.

(Students read poems "Homesickness! For a long time…" And "Motherland")

4. Marina Tsvetaeva dreamed of returning to her homeland, but most of all to return the historical homeland to his son George (born in 1925).

(Students read poems from the cycle "Poems to my son")

5. The eldest daughter Ariadna Efron, who, according to Marina Tsvetaeva, grew up from her poems, shared with her mother all her sorrows and troubles and drank her grief to the full (8 years of Stalin’s camps, 6 years of exile - and only then rehabilitation), wrote: “ ... You had to go through so much and suffer so much in order to grow to understand your own mother.”

E.“And - most importantly - I know how they will love me (read - what!) hefor a hundred years!”

Homecoming. On June 12, 1939, Marina Tsvetaeva sailed from France to her homeland to face troubles and death. The world of the “Iron” Age wrapped around her throat like a noose. The husband and daughter were arrested. The publication of a book of poems is being delayed. A. Blok, S. Yesenin, V. Mayakovsky, N. Gumilyov are no longer alive. There is nothing to live on.

“Forgive me, I couldn’t stand it.”

IV. Work on assignments in small groups on the topic of the Motherland in lyrics

M. Tsvetaeva.

V. Reinforcement of material based on student answers on the topic of the lesson.

Solving the crossword puzzle while discussing the issues.

Reading by heart the poems of M. Tsvetaeva.

3. Discussion of materials on issues. Summarizing the lesson material through the main quote, which became Marina Tsvetaeva’s life conviction: "all modernediversity in the present - the coexistence of times, ends and beginnings, living node - catOjust cut it down.”

VI. The final stage of the lesson.

Homework.

pp. 308-318 (according to the textbook by S.A. Zinin and V.A. Chalmaev, part 1), fill out the table of life and creative quests. Learn the poem by M. Tsvetaeva.

Write a reflection on the topic: “Where does the Motherland begin?”

Grading. Summing up the lesson.

Appendix No. 1

Tasks in small groups on the topic of the lesson:

“M.I. Tsvetaeva.The theme of the Motherland, the “gathering” of Russia into productionAndyah M. Tsvetaeva»

Appendix No. 2

Topic: M.I. Tsvetaeva (1892 - 1941)

Independent work in small groups

Comparative analysis of poems

M. Tsvetaeva “Motherland” and “Longing for the Motherland! For a long time…"

Goal: 1. get acquainted with the poems of M. Tsvetaeva;

2. determine what the poet’s commitment to the theme of Russia is;

3. write a reflection

Goals:

1. Introduce students to the main milestones of life, themes and motives of lyrics; show the exclusivity of the feelings of the lyrical heroine in the poetry of M. Tsvetaeva.
2. Help to understand the features of a poetic text.
3. Create an atmosphere of “immersion” in the work of the master.

Methodical techniques: teacher's story, heuristic conversation, collective analysis of a poetic work, comments, preliminary home preparation, the use of interdisciplinary connections.

Equipment: portrait of M. I. Tsvetaeva, multimedia equipment, literary dictionary (toga - men's clothing among citizens of Ancient Rome, a cloth thrown over the left shoulder; schema - in Orthodoxy; monastic dinner to lead a particularly harsh, ascetic lifestyle; war - war, battle) , epigraph, texts of poems, books.

Epigraph on the board:

My verse
Like precious wines
Your turn will come.

M. Tsvetaeva, 1913

DURING THE CLASSES

I. Introduction. Teacher's opening speech.

Marina Tsvetaeva entered literature at the turn of the century, in an alarming and troubled time. Like many poets of her generation, she has a sense of the tragedy of the world. Conflict over time turned out to be inevitable for her. She lived by the principle: to be only yourself. But Tsvetaeva’s poetry is opposed not to time, not to the world, but to the vulgarity, dullness, and pettiness that lives in it. The poet is a defender, a spokesman for millions of disadvantaged people:

If the soul was born winged,
What is her mansion - and what is her hut!
What is Genghis Khan to her and what is the Horde!
I have two enemies in the world,
Two twins inextricably fused:
Hunger for the hungry and satiety for the well-fed!

Tsvetaeva was destined to become a chronicler of her era. Almost without touching on the tragic history of the twentieth century in her work, she revealed the tragedy of the worldview of a contemporary person. The lyrical heroine of her poetry cherishes every moment, every experience, every impression.

The personality of the poet is revealed in the image of the lyrical hero. The lyrical hero is close to the lyrical “I”. He brings to us the thoughts and experiences of the poet-artist and reveals Tsvetaeva’s spiritual world.

II. Collective analysis of the poem:

Who is made of stone, who is made of clay -
And I’m silver and sparkling!
My business is treason, my name is Marina,
I am the mortal foam of the sea.
Who is made of clay, who is made of flesh -
The coffin and tombstones...
- Baptized in the sea font - and in flight
With your own - it will certainly be broken!
Through every heart, through every network
My willfulness will break through.
Me - do you see these dissolute curls? –
You can't make earthly earth with salt.
Crushing on your granite knees,
With every wave I am resurrected!
Long live the foam - cheerful foam -
High sea foam!

A name is given to a person at birth and often determines his entire life. What does the name Marina mean? (Marine)

1.Reading a poem by heart (individual task). Everyone follows the text.

2. Who are the heroes of this poem? (This is Marina and those “who are made of clay,” i.e. ordinary mortal people. This opposition alone makes us think about the characteristics of Marina.)

3. Class assignment. Write down words related to these characters in two columns. (Table in notebooks and on the board.)

1. What is the main word in the first stanza? (Treason)
2. What antonymous words are there in the second stanza? (Coffin - baptized)
3. Why doesn’t the heroine with her dissolute curls want to become the “salt of the earth” (“national glory”)? (She doesn’t want to lose her freedom, become a hero; she doesn’t want to litter the shore, like salt water does.)
4. What does the word “I will rise again” mean? What word is it close to? (Baptized, and resists “granite”.)

Conclusion: Marina is different, so her “business is betrayal,” that’s why she breaks down and is resurrected. This is her soul.

III. Milestones of life.

a) Reading the poem “With a Red Brush...” (individual assignment).

Red brush
The rowan tree lit up.
Leaves were falling.
I was born.
Hundreds argued
Kolokolov,
The day was Saturday:
John the Theologian.
To this day I
I want to gnaw
Roast rowan
Bitter brush.

b) What is autobiographical in this poem? What did the mountain ash symbolize in Tsvetaeva’s life? (During the period of leaf fall, when the rowan tree was ripening, Marina was born. At this time the bells were ringing. The feast of St. John the Evangelist (one of the 12 apostles, the beloved disciple of Christ.) Marina Ivanovna’s life is bitter, like a rowan tree.)

2. The Tsvetaev family lived in a cozy mansion in one of the ancient Moscow alleys; spent the summer in picturesque places near Moscow, in the Kaluga town of Tarusa. Marina's father was a famous professor, philologist, art historian, her mother, a talented pianist, who opened the wonderful world of nature to her children (Andrey, Asya, Marina) and gave them the best books in the world, came from a Polish-German Russified family.

Reading by heart the poem “Books in Red Binding.” ( Individual task)

What is dear to the heroine in her childhood memories? Why are books “unchanging friends”?

3. Already at the age of six, Marina Tsvetaeva began writing poetry, not only in Russian, but also in German and French. And when she turned 18, she published the collection “Evening Album” (1910) with her personal money. Judging by the content, the poems were limited to the circle of narrow domestic, family impressions.

Poem “Houses of Old Moscow” ( Individual task)

What is the mood of the lyrical heroine, what causes it? (Sad, because old Moscow, part of the culture of the ancient city, is disappearing.)

Moscow in the early collections is the embodiment of harmony, a symbol of the past. Here is admiration for the capital, and love, and tenderness for it, a feeling of Moscow as a shrine of the Fatherland. The motif of holiness and righteousness is heard in most of the poems of the 1916 cycle “Poems about Moscow.” It is associated with the image of blind wanderers wandering along the “Kaluga Road”, with the image of the lyrical heroine:

I will put a silver cross on my chest,
I’ll cross myself and quietly set off on my way
Along the old road along Kaluzhskaya.
Whose work do these motifs resemble?

(A. N. Nekrasova.)

4. Throughout her life, a huge number of people surrounded Marina. They were completely different and revealed her poetic and human talent in different ways. The poems she composes are grouped into cycles, one of which is dedicated to A. Blok. This is a passionate monologue of love, although Tsvetaeva only saw the poet from afar and did not exchange a single word. For her, Blok is a symbolic image of Poetry.

Listen to “Poems to Blok”.

A den for the beast,
The way for the wanderer,
To the dead - drogues,
To each his own.
For a woman to be disingenuous
To the king - to rule,
It’s for me to praise
Your name.

How did you understand these verses? (Tsvetaeva’s main purpose is to glorify Blok.)

5. A. Pushkin introduced the girl into an unfamiliar world of feelings, a “secret world hidden by adults.” The poem “Gypsies” marked the beginning of the perception of such an element as Love, and “Eugene Onegin” gave lessons in “courage, pride, fidelity, fate, loneliness.” She had “her own” Pushkin. Having said “mine,” Tsvetaeva defined her attitude towards the poet:

Pushkin - toga, Pushkin - schema,
Pushkin is the measure, Pushkin is the limit...
Pushkin, Pushkin, Pushkin - name
Grateful is like swearing.

6. For Tsvetaeva, poetic art was “daily work,” sacred, the only craft: “I don’t believe the poems that flow. They are torn - yes.” Bold, impetuous fragmentation of a phrase into separate semantic pieces for the sake of almost telegraphic conciseness. The fitful and intermittent nature of the speech is unusual simply because it reflects the poet’s state of mind with the rapid spontaneity of the moment he is experiencing. The range of her poetry is wide: from Russian folk tales - poems to the most intimate psychological lyrics. Constant, tireless work, reworking, polishing what was written.

Akhmatova had the same attitude towards poetic work.

Excerpt from the poem “Akhmatova”:

We are crowned to be one with you
We trample the earth, and the sky above us is the same!
And the one who is wounded by your mortal fate,
Already immortals descend to the mortal bed.

In my singing city the domes are burning.
And the wandering blind man glorifies the Holy Savior.
And I give you my bell hail,
Akhmatova! - your heart to boot.

What are the similarities between the two poets? (They live on the same land, they are contemporaries.)

How does the lyrical heroine relate to Akhmatova? (Respects, appreciates, admires talent, gives her his city - Moscow.)

It is typical for Tsvetaeva to address herself as “you,” willfully subordinating everything to her dream. But their personal communication took place already in 1941, when the poetesses talked in private for a long time.

7. It is impossible to imagine the poetry of Marina Tsvetaeva without the theme of love: “To love is to know, to love is to be able, to love is to pay the bill.” For Tsvetaeva, love is always a “fatal duel,” always an argument, a conflict, and more often than not, a breakup. Incredible frankness and openness are the unique features of the poetess’s lyrics. The heroine is convinced that both time and distance are subject to feelings:

More tender and irrevocable
No one looked after us...
I kiss you - through hundreds
Years of separation.

Performing a song based on the poems of M. Tsvetaeva “I like that you are not sick with me...”

What is the relationship between the characters in the poem?

Can they become lovers? (No, the poem is dedicated to the future husband of Anastasia’s sister M. Mints).

8. Tsvetaeva dedicated poems to close people: friends - poets, grandmother, husband, Sergei Yakovlevich Efron, children, daughter Alya and son Georgy.

Poem “Alya” (excerpt)

I don't know where you are and where I am.
The same songs and the same worries.
You are such friends!
You are such orphans.
And it’s so good for the two of us -
Homeless, sleepless and orphaned...
Two birds: just got up - let's eat,
Two wanderers: feeding on the world.

Who is the poem about? (About mother and daughter) What is the relationship between the heroines? (They help each other and support.)

How is their fate? (There is no home, they are wanderers, orphans.)

The son of Marina Tsvetaeva and Sergei Efron was born in exile, where her husband ended up with the remnants of the White Volunteer Army, and in 1922 Marina also went abroad. Life in exile was difficult. Emigrant magazines did not like Tsvetaeva’s honest, incorruptible poems. “My reader remained in Russia, where my poems... do not reach,” she regretted.

Excerpt “Poems to my son” (1932).

Neither to the city nor to the village -
Go, my son, to your country, -
To the edge - vice versa to all edges!
Where to go back - forward
Go, especially for you,
Never seen Rus'
My child... Mine?
Her – Child!

What wish does the poetess express? (She wants her son to live on Russian soil, she regrets that he has not seen Russia, but he is her son.)

9. In 1939, M. Tsvetaeva returned to her homeland.

There are no friends nearby, no housing, no work, no family (no husband alive, Ariadne’s fate unknown, estrangement from her son). Under the weight of personal misfortunes, alone, in a state of mental depression, at the beginning of the Great Patriotic War, on August 31, 1941, Marina Tsvetaeva committed suicide.

Poem: “I know I will die at dawn!” Which of the two...”

I know I'll die at dawn! Which of the two
Together with which of the two – you can’t decide by order!
Oh, if only it were possible for my torch to go out twice!
So that in the evening dawn and in the morning at once!
She walked across the ground with a dancing step! - Heaven's daughter!
With an apron full of roses! - Don’t disturb a single sprout!
I know I'll die at dawn! – Night of the Hawk
God will not send a swan soul to my soul!
With a gentle hand, moving away the unkissed cross,
I will rush into the generous sky for the last greetings.
A slit of dawn - a slit in the answering smile...
“Even in my dying hiccups I will remain a poet.”

IV. Conclusion, results.

1. What can you say about the lyrical heroine Tsvetaeva? (A woman is proud, strong, determined, loving, faithful, self-willed. She is capable of friendship and love.)
2. Are the images of the lyrical heroine and the poet close? (In the image of the lyrical heroine, the author’s personality is revealed. “My poems are a diary,” wrote Tsvetaeva. And the diary is trusted with innermost thoughts, secrets, dreams, hopes.)
3. What topics are Marina Tsvetaeva’s poems devoted to? (Love, friendship, the purpose of the poet, Motherland, wandering.)

V. Final words.

Marina Tsvetaeva left a significant creative legacy: books of lyric poetry, seventeen poems, eight verse dramas, autobiographical, memoir and historical-literary prose, letters, diary entries. It has never been altered to suit the tastes of readers and publishers. The strength of her poems lies not in visual images, but in the flow of ever-changing, flexible rhythms. Any of her works is subject to the truth of the heart. Her poems are melodic, soulful, enchanting, which is why composers turn to them and beautiful songs appear. The present in art does not die. In 1913, M. Tsvetaeva confidently stated:

To my poems
Like precious wines
Your turn will come.

VI. Homework: read the poem “Youth” and analyze it. Message: “Marina Tsvetaeva and Sergei Efron.” Learn your favorite poem.

11th grade Literature 08.12.16 lesson 40
Topic: M. I. Tsvetaeva. Poetry of M. Tsvetaeva as a lyrical diary of the era.
Objectives: to introduce students to the biography of M.I. Tsvetaeva;
- reveal the originality of M.I.’s poetic style. Tsvetaeva;
- cultivate a sense of duty, personal responsibility for the fate of generations, the country, and instill love for the Motherland.
Lesson type: learning new material.
During the classes.
Epigraph to the lesson: “Take poetry - this is my life...”.
1.Organizing moment. Hello guys, I'm very glad to see you.
2. Updating knowledge.
1.Check dz. Students' story about Tsvetaeva.
3.Motivation.
4. This woman has a special place among the poets of the “Silver Age”. Perhaps today for the first time we will talk about a woman poet, about a person of an unusually interesting and tragic fate.
Read the epigraph to the lesson. How do you understand these lines?
Recording the topic of the lesson and defining goals for students.
5.The main work of the lesson.
1.The teacher's word.
Marina Tsvetaeva entered literature at the turn of the century, in an alarming and troubled time. Like many poets of her generation, she has a sense of the tragedy of the world. Conflict over time turned out to be inevitable for her. She lived by the principle: to be only yourself - a Russian poetess, prose writer, translator, one of the greatest poets of the 20th century. Russian poetess. The daughter of a scientist, specialist in the field of ancient history, epigraphy and art, Ivan Vladimirovich Tsvetaev. In 1922 - 39 in exile. She committed suicide.
Born on September 26 (October 8, n.s.) in Moscow into a highly cultured family. Father, Ivan Vladimirovich, a professor at Moscow University, a famous philologist and art critic, later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts (now the State Museum of Fine Arts named after A. S. Pushkin). Mother came from a Russified Polish-German family and was a talented pianist. She died in 1906, leaving two daughters in the care of her father.
Tsvetaeva's childhood years were spent in Moscow and at her dacha in Tarusa. Having begun her education in Moscow, she continued it in boarding houses in Lausanne and Freiburg. At the age of sixteen, she made an independent trip to Paris to take a short course in the history of Old French literature at the Sorbonne.
She began writing poetry at the age of six (not only in Russian, but also in French and German), publishing at sixteen, and two years later, secretly from her family, she released the collection “Evening Album,” which was noticed and approved by such discerning critics as like Bryusov, Gumilev and Voloshin. From the first meeting with Voloshin and a conversation about poetry, their friendship began, despite the significant difference in age. She visited Voloshin many times in Koktebel. Collections of her poems followed one after another, invariably attracting attention with their creative originality and originality. She did not join any of the literary movements.
In 1912, Tsvetaeva married Sergei Efron, who became not only her husband, but also her closest friend.
In May 1922, she and her daughter Ariadne were allowed to go abroad to join her husband, who, having survived the defeat of Denikin as a white officer, had now become a student at the University of Prague. At first, Tsvetaeva and her daughter lived for a short time in Berlin, then for three years on the outskirts of Prague, and in November 1925, after the birth of their son, the family moved to Paris. Life was an emigrant, difficult, poor. It was beyond our means to live in the capitals; we had to settle in the suburbs or nearby villages.
The last collection of his lifetime was published in Paris in 1928 - “After Russia”, which included poems written in 1922 - 1925.
She dreamed that she would return to Russia as a “welcome and welcome guest.” But this did not happen: the husband and daughter were arrested, sister Anastasia was in the camp. Tsvetaeva still lived alone in Moscow, somehow getting by with translations. The outbreak of war and evacuation brought her and her son to Yelabuga. Exhausted, unemployed and lonely, the poet committed suicide on August 31, 1941.
In 1914, Marina met the poetess and translator Sofia Parnok, their romantic relationship lasted until 1916. Tsvetaeva dedicated the cycle of poems “Girlfriend” to Parnok. Tsvetaeva and Parnok separated in 1916, Marina returned to her husband Sergei Efron. Tsvetaeva described her relationship with Parnok as “the first disaster in her life.” In 1921, Tsvetaeva, summing up, writes: “To love only women (for a woman) or only men (for a man), obviously excluding the usual opposite - what a horror! But only women (for a man) or only men (for a woman), obviously excluding the unusual native - what a bore!" Sofia Parnok - lover of Marina Tsvetaeva
In 1917, Tsvetaeva gave birth to a daughter, Irina, who died of starvation in an orphanage in Kuntsevo (then in the Moscow region) at the age of 3 years.
Collections of poems 1910 - “Evening Album” 1912 - “Magic Lantern”, second book of poems 1913 - “From two books”, Ed. “Ole-Lukoye” 1913-15 - “Youthful Poems” 1922 - “Poems to Blok” (1916-1921) 1922 - “The End of Casanova” 1920 - “The Tsar Maiden” 1921 - “Milestones” 1921 - “Swan Camp” 1922 - “Separation” 1923 - “Craft” 1923 - “Psyche. Romance" 1924 - "Well done" 1928 - "After Russia" collection 1940
Poems: The Magician (1914) On the Red Horse (1921) The Mountain Poem (1924, 1939) The End Poem (1924) The Pied Piper (1925) From the Sea (1926) The Room Attempt (1926) The Staircase Poem (1926) New Year's (1927) The Air Poem ( 1927) Red Bull (1928) Perekop (1929) Siberia (1930)
Fairy-tale poems: Tsar-Maiden (1920) Lanes (1922) Well done (1922)
Unfinished poems: Yegorushka Unfulfilled poem Singer Bus Poem about the Royal Family.
Dramatic works: Jack of Hearts (1918) Blizzard (1918) Fortune (1918) Adventure (1918-1919) A Play about Mary (1919, not completed) Stone Angel (1919) Phoenix (1919) Ariadne (1924) Phaedra (1927).
Prose: “Living about the living” “Captive spirit” “My Pushkin” “Pushkin and Pugachev” “Art in the light of conscience” “Poet and time” “Epic and lyrics of modern Russia” memories of Andrei Bely, Valery Bryusov, Maximilian Voloshin, Boris Pasternak and others. Memoirs “Mother and Music” “Mother’s Tale” “The Story of One Dedication” “House at Old Pimen” “The Tale of Sonechka.” -What did you learn about Marina Tsvetaeva?
- What role did her mother, Maria Alexandrovna, play in the development of M. I. Tsvetaeva’s personality?
- What place does the theme of home occupy in M. Tsvetaeva’s lyrics?
- How do you imagine the poet’s childhood based on the poems included in the collection “Evening Album”?
- How directly is the poetic image in M. Tsvetaeva’s poems correlated with life circumstances?
2. Reading the suicide note. A note to my son: “Purlyga! Forgive me, but it would have been worse. I’m seriously ill, this is not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Alya - if you see - that I loved them to the last minutes and explain that you are at a dead end."
Note to Aseev: “Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to your place in Chistopol - just take him as your son - and so that he studies. I can’t do anything else for him and I’m only ruining him. I have 450 rubles in my bag .and if you try to sell off all my things. In the chest there are several handwritten books of poetry and a stack of reprints of prose. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love him like a son - he deserves it. And forgive me. I couldn’t bear it. MC "Don't ever leave him. I would be incredibly happy if he lived with you. If you leave, take him with you. Don't leave him!"
A note to the “evacuees”: “Dear comrades! Don’t leave Moore. I beg those of you who can, take him to Chistopol to N.N. Aseev. The steamships are scary, I beg you not to send him alone. Help him with his luggage - fold it and take it ". In Chistopol, I hope that my things will be sold. I want Moore to live and study. He will disappear with me. Aseev's address is on the envelope. Don't bury him alive! Check it thoroughly."
3.Write in a notebook.
Features of Tsvetaeva's poetry
1. Emotional tension
2. Condensation of thought
3. Confessional 4. Richness of intonation
5. Peculiar use of tropes
6. Imagery, unusual syntax: author’s marks, parcellation, abundance of rhetorical questions, appeals and exclamations
A distinctive feature of the poetry of M.I. Tsvetaeva is that her poems became a kind of diary, capturing the emotional experiences of the author and the era, respectively.
Thus, the poetry of M. Tsvetaeva is a lyrical diary of the era and the story of the endless creation of oneself.
4. Selective reading. Read the poem you like best.
5.Work on Tsvetaeva’s lyrics. Work in pairs.
1. Waiting on dusty roads"
2. “To my poems, written so early...”
-What is the intonation of this poem?
- How does the poet feel about his poems and his gift?
-What do you think made her think that?
3. “Prayer” (“Christ and God! I thirst for a miracle...”) -What strikes you in this poem? Does the lyrical heroine crave life or death?
- What unites all the desires of the lyrical heroine in stanzas 2, 3, 4?
-Are they close to you?
- What kind of life attracts her?
-What feelings does she have?
6. Independent work.
Answer the question in writing: Why does the author have the desire to “die while all life is like a book...”? How can we understand the paradox of this poem?
Conclusion: the lyrical heroine cherishes every moment, every experience, every impression received in her youth, and, despite the fact that she asks for death at the age of 17, the poem is filled with colors, life, flight, without which there is no Marina Tsvetaeva
7. Consolidation of the studied material.
Analysis of the poem “Who is created from stone, who is created from clay...”
-How does the author play on his name in the poem?
- What do a poet and the sea have in common?
- What literary associations do you have when reading this poem?
-How are eternity and mortality combined in the image of the lyrical heroine?
-How does the lyrical heroine see her difference from other people?
-How do you imagine Marina Tsvetaeva when reading this poem?
-How would you portray her?
-On what background, in what manner, in what technique would you draw her portrait?
8. Reflection. Compilation of syncwine and crossword puzzle.
Tsvetaeva.
Incomparable, suffering.
She suffered, she created, she loved.
I admire the brilliant female poet.
Hunted Beast
Answers to crossword questions:
1 – Moscow, 2 – Maria, 3 – Sorbonne, 4 – rowan, 5 – son, 6 – France, 7 – tradition, 8 – identity, 9 – Sergei, 10 – “Versts”, 11 – emigration, 12 – Elabuga, 13 – Voloshin, 14 – confession. 9.DZ. Learn by heart any poem by M. Tsvetaeva. Find poems by Tsvetaeva set to music, bring audio and art video.

11th grade Literature 08.12.16 lesson 40

Topic: M. I. Tsvetaeva. Poetry of M. Tsvetaeva as a lyrical diary of the era.

Objectives: to introduce students to the biography of M.I. Tsvetaeva;

Reveal the originality of M.I.’s poetic style. Tsvetaeva;

To cultivate a sense of duty, personal responsibility for the fate of generations, the country, and instill love for the Motherland.

Lesson type: learning new material.

During the classes.

Epigraph to the lesson: “Take poetry - this is my life...”.

1.Organizing moment. Hello guys, I'm very glad to see you.

2. Updating knowledge.

1.Check dz. Students' story about Tsvetaeva.

3.Motivation.

4. This woman has a special place among the poets of the “Silver Age”. Perhaps today for the first time we will talk about a woman poet, about a person of an unusually interesting and tragic fate.

Read the epigraph to the lesson. How do you understand these lines?

Recording the topic of the lesson and defining goals for students.

5.The main work of the lesson.

1.The teacher's word.

Marina Tsvetaeva entered literature at the turn of the century, in an alarming and troubled time. Like many poets of her generation, she has a sense of the tragedy of the world. Conflict over time turned out to be inevitable for her. She lived by the principle: to be only yourself - a Russian poetess, prose writer, translator, one of the greatest poets of the 20th century. Russian poetess. The daughter of a scientist, specialist in the field of ancient history, epigraphy and art, Ivan Vladimirovich Tsvetaev. In 1922 - 39 in exile. She committed suicide.

Born on September 26 (October 8, n.s.) in Moscow into a highly cultured family. Father, Ivan Vladimirovich, a professor at Moscow University, a famous philologist and art critic, later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts (now the State Museum of Fine Arts named after A. S. Pushkin). Mother came from a Russified Polish-German family and was a talented pianist. She died in 1906, leaving two daughters in the care of her father.

Tsvetaeva's childhood years were spent in Moscow and at her dacha in Tarusa. Having begun her education in Moscow, she continued it in boarding houses in Lausanne and Freiburg. At the age of sixteen, she made an independent trip to Paris to take a short course in the history of Old French literature at the Sorbonne.

She began writing poetry at the age of six (not only in Russian, but also in French and German), publishing at sixteen, and two years later, secretly from her family, she released the collection “Evening Album,” which was noticed and approved by such discerning critics as like Bryusov, Gumilev and Voloshin. From the first meeting with Voloshin and a conversation about poetry, their friendship began, despite the significant difference in age. She visited Voloshin many times in Koktebel. Collections of her poems followed one after another, invariably attracting attention with their creative originality and originality. She did not join any of the literary movements.

In 1912, Tsvetaeva married Sergei Efron, who became not only her husband, but also her closest friend.

In May 1922, she and her daughter Ariadne were allowed to go abroad to join her husband, who, having survived the defeat of Denikin as a white officer, had now become a student at the University of Prague. At first, Tsvetaeva and her daughter lived for a short time in Berlin, then for three years on the outskirts of Prague, and in November 1925, after the birth of their son, the family moved to Paris. Life was an emigrant, difficult, poor. It was beyond our means to live in the capitals; we had to settle in the suburbs or nearby villages.

The last collection of his lifetime was published in Paris in 1928 - “After Russia”, which included poems written in 1922 - 1925.

She dreamed that she would return to Russia as a “welcome and welcome guest.” But this did not happen: the husband and daughter were arrested, sister Anastasia was in the camp. Tsvetaeva still lived alone in Moscow, somehow getting by with translations. The outbreak of war and evacuation brought her and her son to Yelabuga. Exhausted, unemployed and lonely, the poet committed suicide on August 31, 1941.

In 1914, Marina met the poetess and translator Sofia Parnok, their romantic relationship lasted until 1916. Tsvetaeva dedicated the cycle of poems “Girlfriend” to Parnok. Tsvetaeva and Parnok separated in 1916, Marina returned to her husband Sergei Efron. Tsvetaeva described her relationship with Parnok as “the first disaster in her life.” In 1921, Tsvetaeva, summing up, writes: “To love only women (for a woman) or only men (for a man), obviously excluding the usual opposite - what a horror! But only women (for a man) or only men (for a woman), obviously excluding the unusual native - what a bore!" Sofia Parnok - lover of Marina Tsvetaeva

In 1917, Tsvetaeva gave birth to a daughter, Irina, who died of starvation in an orphanage in Kuntsevo (then in the Moscow region) at the age of 3 years.

Collections of poems 1910 - “Evening Album” 1912 - “Magic Lantern”, second book of poems 1913 - “From two books”, Ed. “Ole-Lukoye” 1913-15 - “Youthful Poems” 1922 - “Poems to Blok” (1916-1921) 1922 - “The End of Casanova” 1920 - “The Tsar Maiden” 1921 - “Milestones” 1921 - “Swan Camp” 1922 - “Separation” 1923 - “Craft” 1923 - “Psyche. Romance" 1924 - "Well done" 1928 - "After Russia" collection 1940

Poems: The Magician (1914) On the Red Horse (1921) The Mountain Poem (1924, 1939) The End Poem (1924) The Pied Piper (1925) From the Sea (1926) The Room Attempt (1926) The Staircase Poem (1926) New Year's (1927) The Air Poem ( 1927) Red Bull (1928) Perekop (1929) Siberia (1930)

Fairy tale poems: Tsar-Maiden (1920) Lanes (1922) Well done (1922)

Unfinished poems: Yegorushka Unfulfilled poem Singer Bus Poem about the Royal Family.

Dramatic works: Jack of Hearts (1918) Blizzard (1918) Fortune (1918) Adventure (1918-1919) A Play about Mary (1919, not completed) Stone Angel (1919) Phoenix (1919) Ariadne (1924) Phaedra (1927).

Prose: “Living about the living” “Captive spirit” “My Pushkin” “Pushkin and Pugachev” “Art in the light of conscience” “Poet and time” “Epic and lyrics of modern Russia” memories of Andrei Bely, Valery Bryusov, Maximilian Voloshin, Boris Pasternak and others. Memoirs “Mother and Music” “Mother’s Tale” “The Story of One Dedication” “House at Old Pimen” “The Tale of Sonechka.” -What did you learn about Marina Tsvetaeva?

What role did her mother, Maria Alexandrovna, play in the development of M. I. Tsvetaeva’s personality?

What place does the theme of home occupy in M. Tsvetaeva’s lyrics?

How do you imagine the poet’s childhood based on the poems included in the collection “Evening Album”?

How directly is the poetic image in M. Tsvetaeva’s poems correlated with life circumstances?

2. Reading the suicide note. A note to my son: “Purlyga! Forgive me, but it would have been worse. I’m seriously ill, this is not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Alya - if you see - that I loved them to the last minutes and explain that you are at a dead end."

Note to Aseev: “Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to your place in Chistopol - just take him as your son - and so that he studies. I can’t do anything else for him and I’m only ruining him. I have 450 rubles in my bag .and if you try to sell off all my things. In the chest there are several handwritten books of poetry and a stack of reprints of prose. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love him like a son - he deserves it. And forgive me. I couldn’t bear it. MC "Don't ever leave him. I would be incredibly happy if he lived with you. If you leave, take him with you. Don't leave him!"

A note to the “evacuees”: “Dear comrades! Don’t leave Moore. I beg those of you who can, take him to Chistopol to N.N. Aseev. The steamships are scary, I beg you not to send him alone. Help him with his luggage - fold it and take it ". In Chistopol, I hope that my things will be sold. I want Moore to live and study. He will disappear with me. Aseev's address is on the envelope. Don't bury him alive! Check it thoroughly."

3.Write in a notebook.

Features of Tsvetaeva's poetry

1. Emotional tension

2. Condensation of thought

3. Confessional 4. Richness of intonation

5. Peculiar use of tropes

A distinctive feature of the poetry of M.I. Tsvetaeva is that her poems became a kind of diary, capturing the emotional experiences of the author and the era, respectively.

Thus, the poetry of M. Tsvetaeva is a lyrical diary of the era and the story of the endless creation of oneself.

4. Selective reading. Read the poem you like best.

5.Work on Tsvetaeva’s lyrics. Work in pairs.

1. Waiting on dusty roads"

2. “To my poems, written so early...”

What is the tone of this poem?

How does the poet feel about his poems and his gift?

What do you think made her think that way?

3. “Prayer” (“Christ and God! I thirst for a miracle...”) -What strikes you in this poem? Does the lyrical heroine crave life or death?

What unites all the desires of the lyrical heroine in stanzas 2, 3, 4?

Are they close to you?

What kind of life is she attracted to?

What feelings does she have?

6. Independent work.

Conclusion: the lyrical heroine cherishes every moment, every experience, every impression received in her youth, and, despite the fact that she asks for death at the age of 17, the poem is filled with colors, life, flight, without which there is no Marina Tsvetaeva

7. Consolidation of the studied material.

Analysis of the poem “Who is created from stone, who is created from clay...”

What do a poet and the sea have in common?

What literary associations do you have when reading this poem?

How are eternity and mortality combined in the image of the lyrical heroine?

How does the lyrical heroine see her difference from other people?

How do you imagine Marina Tsvetaeva when reading this poem?

How would you portray her?

On what background, in what manner, in what technique would you draw her portrait?

8. Reflection. Compilation of syncwine and crossword puzzle.

Tsvetaeva.

Incomparable, suffering.

She suffered, she created, she loved.

I admire the brilliant female poet.

Hunted Beast

Answers to crossword questions:

1 – Moscow, 2 – Maria, 3 – Sorbonne, 4 – rowan, 5 – son, 6 – France, 7 – tradition, 8 – identity, 9 – Sergei, 10 – “Versts”, 11 – emigration, 12 – Elabuga, 13 – Voloshin, 14 – confession. 9.DZ. Learn by heart any poem by M. Tsvetaeva. Find poems by Tsvetaeva set to music, bring audio and art video.