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Elos líricos: Poemas e prosa a grandes poetas
A antologia Elos líricos reúne seis ciclos de poemas e duas séries de textos em prosa que cobrem um período de 22 dos 48 anos de vida da poeta russa Marina Tsvetáieva (1892-1941), tendo sido compostos entre 1914 e 1936. Trata-se de um recorte representativo de sua produção por acompanhar seu percurso poético expresso na relação que manteve com outros poetas, os quais constituem influências em sua obra, tais como Aleksandr Púchkin, Boris Pasternak, Vladímir Maiakóvski, Anna Akhmátova, Sofia Parnok e Rainer Maria Rilke. Se por meio desses poemas e ensaios entrevemos eventos da história russa e do itinerário pessoal de Tsvetáieva – suas experiências, amizades, afinidades poéticas e amores –, a leitura do conjunto oferece, por fim, uma intensa reflexão quanto ao ofício do poeta, a natureza da criação artística, o fazer poético próprio e também de outros.
- GenresPoetry
208 pages, Hardcover
Published February 16, 2022
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About the author
Marina Tsvetaeva
571 books578 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 - 2 of 2 reviews
January 22, 2023
Há alguns anos li uma coletânea de poemas da Tsvetáieva traduzidos para o inglês e que me decepcionaram deveras por sua linha burguesa e czarista. Tenho plena consciência que o stalinismo foi completamente atroz com os poetas e artistas em geral, amplamente criminoso para dizer o mínimo, tanto que Maiakovski não conseguiu viver com o que transformaram a revolução e se suicidou. Mas ser anti-stalinista não quer dizer cantar louvores ao Czar como a Tsvetáieva fazia, né?
Por isso acho essa seleção da Paula Vaz de Almeida mais digna do a que li em inglês, aqui Tsvetáieva canta louvores a outros escritores que admirava, louvores mais do que merecidos a seus amigos e companheiros de jornada, o que torna tudo muito mais belo e singelo do que lamber bolas de czarismo.
Por isso acho essa seleção da Paula Vaz de Almeida mais digna do a que li em inglês, aqui Tsvetáieva canta louvores a outros escritores que admirava, louvores mais do que merecidos a seus amigos e companheiros de jornada, o que torna tudo muito mais belo e singelo do que lamber bolas de czarismo.
August 25, 2023
2,5 estrelas
Displaying 1 - 2 of 2 reviews