What do you think?
Rate this book
Poemas
Marina Tsvietáieva fue una de las mejores y más importantes poetas rusas del siglo XX. Esta edición bilingüe reúne diez poemas lírico-narrativos extensos, entre los que se encuentran "Poema de la montaña" y "Poema del fin", considerados como sus cimas creativas y como dos de los mejores poemas escritos en el pasado siglo.
- GenresPoetry
344 pages, Paperback
First published January 19, 2023
3 people are currently reading
25 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...
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 2 of 2 reviews
December 18, 2023
Esta edición bilingüe recoge íntegramente un total de diez poemas bastante extensos que compuso la autora entre 1914 y 1936 de carácter lírico-narrativo. Son poemas donde se fusionan elementos oníricos y fantásticos con otros reales de la vida de la propia poeta, sobre todo relacionado con la vida cotidiana.
"El mago" es el primero de estos poemas extensos. Nos cuenta una tarde de sobremesa familiar, a la vez que un paseo por Moscú de Marina, su hermana Anastasia y su amigo Ellis, seudónimo cariñoso del poeta simbolista Kobylinskij. Este era apodado El mago por las dos hermanas. Es un poema de juventud donde descubre el amor y el poder que hay en la poesía. De aquí destaca sobre todo el retrato que hace la propia autora del poeta simbolista.
Distinto es su poema "En el caballo rojo". Se trata de un poema más complejo y con una fuerte carga simbólica y autobiográfica. Es también la época más dura de la vida de la autora, ya que coincide con la muerte de su hija por hambre, la separación de su marido que luchaba en la guerra civil rusa y la supervivencia dificultosa de ella con su otra hija. Es un poema con mucha carga onírica, elementos fantásticos sacados de sueños y que representan distintos aspectos para la autora.
"Testigo mudo
de vivas tempestades
reposo y vigilo
las sombras.
¡Hasta que me
lleve el azur
en el caballo rojo,
mi Genio!"
Pero sin duda sus mejores piezas son "Poema de la montaña" y "Poema del fin", que representan la cúspide de su obra poética y están considerados como dos de los mejores poemas escritos del siglo XX. Son fruto de la relación amorosa que mantuvo Marina con Konstantín Rodzévich, un antiguo oficial del Ejército Rojo y amigo de su marido. El primero representa un poema en cantos donde se habla de la amargura, de la tristeza y del dolor de una ruptura amorosa, aunque el segundo también tiene un carácter dramático.
Se trata de un poemario con mucha intensidad y mucho simbolismo, a la vez que una fuerte carga de sentimientos de la autora y de un reflejo de su propia vida. Es un libro muy bueno de leer, para disfrutar poco a poco con cada uno de sus cantos y trasladarse a la Rusia del siglo XX. Un libro lleno de amor y desamor, de sueños y juventud, de pérdidas y encuentros.
"El mago" es el primero de estos poemas extensos. Nos cuenta una tarde de sobremesa familiar, a la vez que un paseo por Moscú de Marina, su hermana Anastasia y su amigo Ellis, seudónimo cariñoso del poeta simbolista Kobylinskij. Este era apodado El mago por las dos hermanas. Es un poema de juventud donde descubre el amor y el poder que hay en la poesía. De aquí destaca sobre todo el retrato que hace la propia autora del poeta simbolista.
Distinto es su poema "En el caballo rojo". Se trata de un poema más complejo y con una fuerte carga simbólica y autobiográfica. Es también la época más dura de la vida de la autora, ya que coincide con la muerte de su hija por hambre, la separación de su marido que luchaba en la guerra civil rusa y la supervivencia dificultosa de ella con su otra hija. Es un poema con mucha carga onírica, elementos fantásticos sacados de sueños y que representan distintos aspectos para la autora.
"Testigo mudo
de vivas tempestades
reposo y vigilo
las sombras.
¡Hasta que me
lleve el azur
en el caballo rojo,
mi Genio!"
Pero sin duda sus mejores piezas son "Poema de la montaña" y "Poema del fin", que representan la cúspide de su obra poética y están considerados como dos de los mejores poemas escritos del siglo XX. Son fruto de la relación amorosa que mantuvo Marina con Konstantín Rodzévich, un antiguo oficial del Ejército Rojo y amigo de su marido. El primero representa un poema en cantos donde se habla de la amargura, de la tristeza y del dolor de una ruptura amorosa, aunque el segundo también tiene un carácter dramático.
Se trata de un poemario con mucha intensidad y mucho simbolismo, a la vez que una fuerte carga de sentimientos de la autora y de un reflejo de su propia vida. Es un libro muy bueno de leer, para disfrutar poco a poco con cada uno de sus cantos y trasladarse a la Rusia del siglo XX. Un libro lleno de amor y desamor, de sueños y juventud, de pérdidas y encuentros.
May 1, 2025
te amo marina.
Displaying 1 - 2 of 2 reviews