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Tres poemas mayores: Poema de la montaña / Poema del fin / Carta de Año Nuevo
Rare book
- GenresPoetry
152 pages, Paperback
First published January 1, 2004
33 people want to read
About the author
Marina Tsvetaeva
571 books577 followers Марина Цветаева
Marina Ivanovna Tsvetaeva was born in Moscow. Her father, Ivan Tsvetaev, was a professor of art history and the founder of the Museum of Fine Arts. Her mother Mariya, née Meyn, was a talented concert pianist. The family travelled a great deal and Tsvetaeva attended schools in Switzerland, Germany, and at the Sorbonne, Paris. Tsvetaeva started to write verse in her early childhood. She made her debut as a poet at the age of 18 with the collection Evening Album, a tribute to her childhood.
In 1912 Tsvetaeva married Sergei Efron, they had two daughters and one son. Magic Lantern showed her technical mastery and was followed in 1913 by a selection of poems from her first collections. Tsvetaeva's affair with the poet and opera librettist Sofiia Parnok inspired her cycle of poems called Girlfriend. Parnok's career stopped in the late 1920s when she was no longer allowed to publish. The poems composed between 1917 and 1921 appeared in 1957 under the title The Demesne of the Swans. Inspired by her relationship with Konstantin Rodzevich, an ex-Red Army officer she wrote Poem of the Mountain and Poem of the End.
After 1917 Revolution Tsvetaeva was trapped in Moscow for five years. During the famine one of her own daughters died of starvation. Tsvetaeva's poetry reveals her growing interest in folk song and the techniques of the major symbolist and poets, such as Aleksander Blok and Anna Akhmatova. In 1922 Tsvetaeva emigrated with her family to Berlin, where she rejoined her husband, and then to Prague. This was a highly productive period in her life - she published five collections of verse and a number of narrative poems, plays, and essays.
During her years in Paris Tsvetaeva wrote two parts of the planned dramatic trilogy. The last collection published during her lifetime, After Russia, appeared in 1928. Its print, 100 numbered copies, were sold by special subscription. In Paris the family lived in poverty, the income came almost entirely from Tsvetaeva's writings. When her husband started to work for the Soviet security service, the Russian community of Paris turned against Tsvetaeva. Her limited publishing ways for poetry were blocked and she turned to prose. In 1937 appeared MOY PUSHKIN, one of Tsvetaeva's best prose works. To earn extra income, she also produced short stories, memoirs and critical articles.
In exile Tsvetaeva felt more and more isolated. Friendless and almost destitute she returned to the Soviet Union in 1938, where her son and husband already lived. Next year her husband was executed and her daughter was sent to a labor camp. Tsvetaeva was officially ostracized and unable to publish. After the USSR was invaded by German Army in 1941, Tsvetaeva was evacuated to the small provincial town of Elabuga with her son. In despair, she hanged herself ten days later on August 31, 1941.
source: http://www.poemhunter.com/marina-ivan...
Marina Ivanovna Tsvetaeva was born in Moscow. Her father, Ivan Tsvetaev, was a professor of art history and the founder of the Museum of Fine Arts. Her mother Mariya, née Meyn, was a talented concert pianist. The family travelled a great deal and Tsvetaeva attended schools in Switzerland, Germany, and at the Sorbonne, Paris. Tsvetaeva started to write verse in her early childhood. She made her debut as a poet at the age of 18 with the collection Evening Album, a tribute to her childhood.
In 1912 Tsvetaeva married Sergei Efron, they had two daughters and one son. Magic Lantern showed her technical mastery and was followed in 1913 by a selection of poems from her first collections. Tsvetaeva's affair with the poet and opera librettist Sofiia Parnok inspired her cycle of poems called Girlfriend. Parnok's career stopped in the late 1920s when she was no longer allowed to publish. The poems composed between 1917 and 1921 appeared in 1957 under the title The Demesne of the Swans. Inspired by her relationship with Konstantin Rodzevich, an ex-Red Army officer she wrote Poem of the Mountain and Poem of the End.
After 1917 Revolution Tsvetaeva was trapped in Moscow for five years. During the famine one of her own daughters died of starvation. Tsvetaeva's poetry reveals her growing interest in folk song and the techniques of the major symbolist and poets, such as Aleksander Blok and Anna Akhmatova. In 1922 Tsvetaeva emigrated with her family to Berlin, where she rejoined her husband, and then to Prague. This was a highly productive period in her life - she published five collections of verse and a number of narrative poems, plays, and essays.
During her years in Paris Tsvetaeva wrote two parts of the planned dramatic trilogy. The last collection published during her lifetime, After Russia, appeared in 1928. Its print, 100 numbered copies, were sold by special subscription. In Paris the family lived in poverty, the income came almost entirely from Tsvetaeva's writings. When her husband started to work for the Soviet security service, the Russian community of Paris turned against Tsvetaeva. Her limited publishing ways for poetry were blocked and she turned to prose. In 1937 appeared MOY PUSHKIN, one of Tsvetaeva's best prose works. To earn extra income, she also produced short stories, memoirs and critical articles.
In exile Tsvetaeva felt more and more isolated. Friendless and almost destitute she returned to the Soviet Union in 1938, where her son and husband already lived. Next year her husband was executed and her daughter was sent to a labor camp. Tsvetaeva was officially ostracized and unable to publish. After the USSR was invaded by German Army in 1941, Tsvetaeva was evacuated to the small provincial town of Elabuga with her son. In despair, she hanged herself ten days later on August 31, 1941.
source: http://www.poemhunter.com/marina-ivan...
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Displaying 1 - 5 of 5 reviews
March 15, 2022
Na Marina és la persona més especial que ha existit. Aquests tres poemes, com tots els seus, són meravellosos, però destac indubtablement 'Poema del fin'. Mai em cansaré de llegir-la. L'ador irremeiablement. "Porque — el énfasis sobra — / el amor es sutura".
January 18, 2021
este lo lei pero mi traducción preferida es la de Alción editora.
perdí la cuenta de la cantidad de veces que lo leí.
perdí la cuenta de la cantidad de veces que lo leí.
July 13, 2022
Sin duda cada poema tiene lo suyo; el poema de la montaña es una infinita superposición de imágenes contrapuestas muy bellas: "la pasión no es mentira--la invento", dice en un verso incisivo y explicativo del proceso creativo como corriente rompiente de lo establecido. De manera similar:
Lo conocemos todo de la vida:
la barraca, la chusma y el mercado,
los poemas, decía la montaña,
surgen así-- lo conocemos todo
Versos que, a partir de la antítesis subvierten lo mundano en la poesía como órgano funcional insoslayable.
El poema del fin insiste en esta forma mediante el tópico doble del adentro/afuera u hogar/suburbios como dos caras de la misma moneda, que además ser complementarias entre sí, dan cuenta de vivencias enmarcadas en lo placentero y espontáneo que concede la noche:
¿Qué significa casa
sino salir a la noche?.
Por último, Carta de fin de año, léalo usted, me dejó sin palabras y me da pajita escribir más
Lo conocemos todo de la vida:
la barraca, la chusma y el mercado,
los poemas, decía la montaña,
surgen así-- lo conocemos todo
Versos que, a partir de la antítesis subvierten lo mundano en la poesía como órgano funcional insoslayable.
El poema del fin insiste en esta forma mediante el tópico doble del adentro/afuera u hogar/suburbios como dos caras de la misma moneda, que además ser complementarias entre sí, dan cuenta de vivencias enmarcadas en lo placentero y espontáneo que concede la noche:
¿Qué significa casa
sino salir a la noche?.
Por último, Carta de fin de año, léalo usted, me dejó sin palabras y me da pajita escribir más
September 2, 2025
Un conjunto lírico que reitera que Marina Tsvietáieva fue una poeta extraordinaria. Destaca la Carta de Año Nuevo, que escribiera tras la muerte de Rainer Maria Rilke y que le dedicará a éste, con quien tuvo una relación muy cercana que, de hecho, quedó evidencia en el importante intercambio de cartas entre ambos. Un libro necesario para quien quiera profundizar en la obra poética de Tsvietáieva.
July 1, 2023
POEMA DE LA MONTAÑA
Se pierde la vergüenza, no la memoria.
...
Contacto - el amor es todo.
POEMA DEL FIN
Elevando la mirada
con voz cara y potente:
- Querido, vámonos,
¡o empezaré a llorar
...
(Con la avena el orgullo
se extingue en los caballos.)
A Arabia, no - a Arcadia:
así olía
el café...
Sonriente, piadosa,
en fila nos sentaba,
con el saber experto
de las viejas amantes.
...
El que rompe -
¡nunca pierde!
Afueras y suburbios:
separación de frentes.
Fusilan por los barrios,
¡relámpago en los sesos!
Quien abandona no pierde,
cuándo la aurora se enciende.
CARTA DE AÑO NUEVO
-¡Adiós! ¡Hasta conocernos!
No sé si nos veremos, pero nos entenderemos
Se pierde la vergüenza, no la memoria.
...
Contacto - el amor es todo.
POEMA DEL FIN
Elevando la mirada
con voz cara y potente:
- Querido, vámonos,
¡o empezaré a llorar
...
(Con la avena el orgullo
se extingue en los caballos.)
A Arabia, no - a Arcadia:
así olía
el café...
Sonriente, piadosa,
en fila nos sentaba,
con el saber experto
de las viejas amantes.
...
El que rompe -
¡nunca pierde!
Afueras y suburbios:
separación de frentes.
Fusilan por los barrios,
¡relámpago en los sesos!
Quien abandona no pierde,
cuándo la aurora se enciende.
CARTA DE AÑO NUEVO
-¡Adiós! ¡Hasta conocernos!
No sé si nos veremos, pero nos entenderemos
Displaying 1 - 5 of 5 reviews