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musical genres in lyric poet A.I.Tsvetaeva

As a rule, for poetry loan of small musical genres and forms is characteristic. Often names of pieces of music are used by poets in metaphorical value, but also is possible and arhitektonicheskaja communication between verbal and musical products.

Researcher A.A.Bohr allocates special group of products with author's nominations: «Orientation to the literary-musical form has found the explicit expression in author's (« a romance without music "," an autumn romance "," poeza "," faltering lines », etc.), and also occasional (« poezokontsert "," slow lines "," garmonnye sighs », etc.) genre designations» [202]. However we refuse at once the given category as for M.I.Tsvetaeva and A.I.Tsvetaeva's creativity the similar phenomenon is uncharacteristic.

We will consider those products which nominations are doubtless and konventsionalny in relation to the designated genre or the form (for example, A.I.Tsvetaeva's suites).

Suite genre in lyric poet A.I.Tsvetaeva

As the most obvious example of a synthetic genre, it is possible to consider Tsvetaeva's lyrical suites, a cycle "Feb".

Literary secretary A.I.Tsvetaeva S.A.Ajdinjan notices, that «the cycle ["Feb"] consists of suites. M.B.Zubakina's is formal-poetic influence is observed. In its collection« the Bear in parkway ». After a table of contents the note follows:« with a prosaic refrain the author has started to enter the First suites since 1914. »[203]. A.I.Tsvetaeva does not have prosaic refrains, but it uses a musical genre of a suite, i.e. the cyclic art form.

Now we will shortly designate concept of a musical genre.

«A suite - the cyclic musical form consisting of several contrast parts. In XVI-XVIII centuries there was a form of the so-called ancient suite consisting of 4 dances. In XIX-XX centuries have received development of a suite of new type with strongly pronounced contrast.» [204]. For a suite figurativeness is characteristic picture izobrazitelnost.

The cycle "Feb" A.I.Tsvetaeva consists of four contrast parts (4 suites), that is hypothetically it can be considered as a suite (Suite = A + C + S + G):

1. Allemande (moderate rate) - «the Suite window» (iambic pentameter):

. As it is strange to start to write verses,

Which, can, a century not to sound.

So be, my words, are silent,

On you prison the press lays.

2. Courante (faster rate) - «the Suite prison» (tetrameter jamb):

Favour of prison are poor

Artificial tea of a circle.

From the point of view of the maintenance, the second suite of a cycle "Feb" - the most simple and simple: about burdens of a prison life, about scarcity of food, including spiritual («favour of prison Are poor.»), about small and very simple pleasures of prisoners:

- Yes it is full! The word l is "prison"?

When at the window

Srebristyh little birds the commotion,

Risen over a cat?

3. Sarabande (slow rate) - «the Suite illusive» (six-foot jamb):

Dovoploshchyonnoe to the limit

Borders with illusive, as Dantov a hell.

Over an unknown show of the deserted

Wives, mothers - nights prison fumes.

Saraband - the third, slowest and sad part of a suite. As the saraband is ancient Spanish dance, and initially was analogue of Russian crying: it was executed on funeral and had tragic enough, minor sounding.

The lyrical heroine mourns over a free life which associates at it with T.Chjurljanisa's pictures, with A.N.Skryabin's rebellious music, with great poems of the Homere, with pathos of lyrics Feognida and with Charles Baudelaire's name.

The culmination of tragedy of the heroine-prisoner consists in last four lines of a poem:

About a bitter life fate! Between the earth and the sky

The beginnings and the ends are opened!

As often Dream and the Reality at o'clock zabvenja Feba

Change gropingly the wreaths.

4. Gigue (fast rate (though moderate rate)) - «the Suite night» (raznostopnyj jamb is supposed also):

And again night! prohladoju letejskoj

As prison this temple is similar to a cemetery!

Does not sleep, as well as always, in the melancholy bible

The patient of Khan Hejm, a chimera with I Notr-will give.

This suite the greatest on volume and the most difficult under the maintenance. It is anticipated the short explanatory: «In the chamber on 40 places of 170 concluded women».

Formally product consists of 4 parts, therefore it can be analysed as a musical suite.

As it was marked above, the first stanza of a poem (or the first part of a suite) is written six-foot jambom, that gives to the poetic text slow and measured sounding and makes related with allemandoj (the first part of a suite moderated on rate).

The second stanza - is written by an iambic pentameter. In this part of a suite the image «chimeras more full reveals with I Notr-will give» which has been hardly planned in the first short stanza. Change of quantity of feet in line accelerates product, and it is possible to draw a conclusion that this second stanza corresponds kurante - the second part of a musical suite.

The third stanza - is written raznostopnym jambom: in the first line - six-foot jamb, in the second - pjatistopnyj. Substantially the stanza corresponds to "mournful" subjects of a saraband:

All has fallen asleep. Neither a sigh and nor crying -

Instant of absolutely mortal silence.

The fourth stanza is written raznostopnym jambom (alternate pjatistopnyj and six-foot jamb). This fourth part is a resolving, major chord (if to speak music language) to all strained, very difficult on sense and suite structure - both "big" - "Feb", and small - «Suites night»: «From dead by a life eternal Sunday.».

Hence, the author's name "suite" is not casual. The cycle "Feb" is written A.I.Tsvetaeva in the form of a suite consisting of four parts, united by a generality of a theme and the title, the general tonality.

By analogy to musical categories it is possible to allocate as a tonality metre - that is jamb, and as rate - quantity of feet.

But thus there is a question - whether suite parts submit to musical canons or the genre designation is a poetic manner?

For an example we take the first poem - «the Suite window». If to follow the author's logic and a plan, this suite (as well as others three) is the independent product concerning corresponding genre.

The poem consists of six stanzas - three stanzas on 4 verses and three stanzas on 8 verses. Thus, the poem is not entered in the form classical, or an ancient four-private suite. However it is known, that in XIX-XX centuries the genre has undergone set of changes and suites began to name cycles of plays (for example, a suite «Pictures from an exhibition» M.P.Musorgsky, «Per Gjunt» E.Grieg, a suite R.Schuman's "Carnival", etc.). «The suite window» has ring structure - the poem begins and comes to an end the same stanza, with an insignificant variation in last verse.

If to look on «the Suite window» as at a cycle of plays the following picture turns out: in the first (and last) a stanza the theme of creativity in the conditions of bondage is proclaimed; the second stanza opens sense of the title («.v a window aspiring, in a window flying.», «in not revealing window.»); the third stanza sends the reader to D.Byron's romantic poem «Shilonsky prisoner» («I am torn still there where Bonivar.»); in the fourth stanza prison projection Dantova of a hell is represented; the fifth stanza contains bible images - crying Rahili and the Book of Kingdoms.

Thus, we see gradual gradation for light pleasure («I muhoju admire on glass.») to a gloomy presentiment of Terrible court, eternal torments and darkness of a hell («.ved it is the Book of Kingdoms is solemnly opened, / And to the sun there is no way as through a gloom.»). And this difficult, diverse change by that in the text is concluded in refrain frameworks: «.kak it is strange to start to write verses.».

The genre of the poetic suite everyone of parts of a cycle "Feb" corresponds to a musical genre of suite HH century, and A.I.Tsvetaeva 150

Meaningly uses in the poetry arhitektoniku a piece of music.

However the given cycle is not an example for the only thing of a literary suite in A.I.Tsvetaeva's creativity. Besides the separate suites named it, we have allocated a suite-poem (the name of M. G) «Northern Carmen».

In poetic creativity A.i. Tsvetaeva can be found two more suites (with an author's nomination): «proshchane the third (the Suite New Year's)» [A.Tsvetaeva, with. 57-58] and «the Suite sleepless» [A.Tsvetaeva, with. 71]. However, unlike a lyrical cycle "Feb" and «Northern Carmen» these two poems represent smaller scientific interest since the suite concerning these two poems is faster not the genre name, and conscious creation by the author of illusion of a suite, so-called heading genre refleksiv, however, not supported arhitektonicheskimi, thematic elements.

«Northern Carmen» [A.Tsvetaeva, with. 63-68]

At first we will result S.A.Ajdinjana's comment concerning this product: «It is the whole poem where appears stihotvorno the recreated shape of the small secular woman. Its destiny is typical for pre-war capital Soviet« a twilight ». It pustovataja a life, shoal of passions, novels - all is the author tries to poeticize,« to take in a poem ». The citation from Titov's known romance« At dawn you it concludes «Northern Carmen» do not awake! ».» [205].

This poem-suite, as well as almost A.Tsvetaeva's all poetic creativity, is got by a camp theme. However through this main theme (we name it so because it passes through all poetic creativity of the author, and also is sjuzhetoobrazujushchej) Carmen's collateral theme (since it is a plot special case) appears through. In data
Case there is a triple sending - to "Carmen's" P.Merime's short story, to "Carmen's" Z.Bize's opera and to R.Schedrin's ballet "Carmen-suite".

As is known, the basic plot of ballet is released from all minor lines of a short story and an opera. Therefore in the ballet centre there is a tragical destiny of gipsy Carmen and enamoured soldier Hoze in it which Carmen will leave for the sake of the young Toreador. Relations of heroes and  destruction of the gipsy by hand terrified with jealousy Hoze are defined by fate, fate. So, Carmen's history, in comparison with the literary primary source and an opera, is told in the symbolical plan that is strengthened by unity of a scene of action - a bullfight platform. Precisely same picture we see in A.I.Tsvetaeva's poem-suite «Northern Carmen».

As bullfight platform the prison serves in A.I.Tsvetaeva's suite, here are developed the basic sobytijnaja a collision framed with memoirs and pictures from last life of Carmen:

Rumble of the evening chamber - as the seas

Kept away an ominous storm.

Behind vespers of a twilight a veil

The chamber floats in a dense fog.

After the introduction («the Rumble of the evening chamber.») the basic part follows, «Carmen's Exit» where the author scrupulously traces a portrait of the heroine:

As eyes as eyelids are dark are light!

Something from Vertinsky in the person.

Problue of eyes. poluprikryty eyelids,

Poppy a petal your greedy mouth.

After a portrait and obrisovki biographies of the heroine on a scene appears Hoze - ZHenka:

ZHenka there was a handsome man, is harmonous growth.

Also was not able passions

It to restrain.

Days flew. And to heart it became boring.

Already again afar it attracted,

The new love came.

Character Hoze reveals in a song - the small insert differing from the basic text by rhythmic drawing:

Winter. Branch lilacs

Sign on its grief,

The song is simple.

You have come to an arbour,

Where you met,

That arbour - is empty.

After this song the text rhythm again varies and appears the Toreador - Borka:

It is whimsical, Borka,

Customs - awful.

But also in this union to heroin does not carry: Borka refuses the beloved when that gets to prison. Northern Carmen is grasped by memoirs of a former easy sparkling life, she again recollects the Evgenie-Hoze:

But once in a dansing-hall, at stuffy night -

You with Evgenie of an eye in eyes. Again.

Further the next change of a rhythm and rate follows, the text passes in an easy bolero:

And in delirium of hard drinking,

As in the mermaid eyes,

The song is simple.

In the following part again there is Boris grieving for the Carmen-Irina, seeing the wife last time in the police car. And here the following part is beaten out from the general integrity of a picture
Followings of a musical suite because in it there is an inspector, the character, uncharacteristic for a prototype.

In the ending there is a farewell and parting to Carmen. Unlike the primary source - and literary and musical - the heroine does not die by hand Hoze, but it translate in other prison. In this changed ending A.Tsvetaeva's which are not allowing even in product to kill the person the humanistic ideals - Carmen are obviously looked through.

«Northern Carmen» as a suite is under construction on canons not a classical ancient suite, and on canons of the new suite consisting of a number of plays, separated from each other a rhythm and rate, thematic fullness.

Itself Anastas Ivanovna considered this poem-suite weak and doubted, whether to include it in the collection. And, really, on expressiveness and art force «Northern Carmen» considerably concedes to cycle poems "Feb".

Thus, a suite genre, it arhitektonika are the important elements of poetics of A.I.Tsvetaeva that is caused, first of all, gratitude to creativity and person B.M.Zubakina - the friend to a youth A.I.Tsvetaeva. Besides she has devoted it some poems and the big poem.

«Two polonaises» A.I.Tsvetaeva

The description of a polonaise of Chopin and Oginsky A.I.Tsvetaeva testifies to sensitive understanding of music in a poem «Two polonaises». On the description, certainly, has affected slushatelsky experience:

Chopin polonaise! Pyshushcheju foam

As champagne through crystal edge!

In these is simply - veins? You l, madnesses arena,

Where you doze, ancient ancestors paradise?

Really, these lines it is masterful character of polonaises of F.Chopin, compared to champagne foam, with fun, pleasure and dizzy ball is transferred.

Luxury of the Polish nation

Vychurnoju grace

Blacknesses silver streams.

Among victories of an applause -

- Listen, friend Horatio! -

The polonaise Oginsky sounds:

Pipes red launches,

Mid-flight roty

In fight of the last shljahtichej conduct.

Smertnoju a hiccups

Note requiem

Polonaise «Farewell, fatherland» sing. [A.Tsvetaeva, with. 46]

Unfortunately, in all modest enough case of poems the genre nomination of a polonaise meets only once.

The polonaise, by definition of the musical dictionary, is «the Polish dance. Has character of solemn brilliant procession; the size ¾. Dancing dvizhutsja smoothly, stately, slightly squatting on 3rd quarter of each step. The polonaise has been rather extended in XIX century as ball dance and has received wide reflexion in the musical literature: these are M.Oginskogo, F.Chopin polonaises. Plays under the name« a polonaise »met in suites of XVIII century.» [206].

S.Ajdinjan makes comments A.I.Tsvetaeva's on this poem so: «the Poetic variation on a theme of"polonaise"Oginsky, cast
Legendary history of the Polish composer, column Michael Oginskogo (1765-1833), written a polonaise “Farewell to the Native land” »[207].

Fair and, most likely, prompted to the A.Tsvetaeva, the remark. However the given comment does not consider a mention in a poem of a polonaise of other Polish composer - F.Chopin.

As well as Marina, Anastas Tsvetaeva was all life under the power and charm of the Polish blood of noble family, therefore in its creativity mentions and poetizatsija «the Polish nation» are not casual.

Chopin polonaise! Pyshushcheju foam

As champagne through crystal edge!

In these is simply - veins? You l, madnesses arena,

Where you doze, ancient ancestors paradise?

As is known, the polonaise in French transfer means "Polish". And also it is known, that the polonaise is dance-procession, sedate and solemn. F.Chopin the creativity popularised this music, poeticized and has brought certain dramatic nature.

The poem consists of three parts: the first - tells about the first polonaise - Chopin; the second and the third - tell about the second polonaise - Oginsky; and the second part are musical impressions, and the third - history of tragical  destruction of the composer.

The poem is written by a trochee, however from a part to a part the quantity of feet in a stanza varies: five feet (with one truncated foot last line of the first stanza); four feet (about lengthening in four lines); three feet (about lengthening in 5 lines). Thus, we deal with a free trochee («positionally a disorder variation long, average and
Short sillabicheskogo metre »[208]). This reception gives to poetic speech a colloquial shade and sedateness, moderation of rate.

Thus, in this case the nomination of a genre of a polonaise here is formal and urged to designate the internal maintenance of product, not corresponding with the text arhitektonicheski, on subjects.

Waltz ("we") A.I.Tsvetaeva

Traditionally as uniting the literature and music are used basically by vocal and tool genres. However in A.I.Tsvetaeva's poetic creativity again («Two polonaises») there is a dancing genre unusual for lyrics - a waltz. The poem "we" has no characteristic author's subtitle, but has concrete author's installation on a waltz in "introduction" (the first quatrain is named by us the introduction conditionally since on a rhythm and structure considerably differs from the basic part):

Music. And somewhere, sentries, -

Whether all there is quiet, on the Cupid?

Butt - a waltz. And obedient vyju

Under a waltz «On hills Manchzhurii». [A.Tsvetaeva, with. 124]

S.Ajdinjan so makes comments on this poem: «Anastas Ivanovna in camp - and from a loud-speaker, unexpectedly, the waltz, which orchestra played, when it in an early youth rushed on the fads on a skating rink. That day she has met B.S.Truhacheva, the father of her son, Andrey Borisovicha. Further there are lines of a portrait of B.Truhacheva and their correlation with lines of the son. Family line Truhachevyh - pensiveness, unwillingness to live“ only a daily bread ”» [209].

A.Tsvetaeva - the talented poet and the artist of a word in the poem embodies not only memoirs and the feelings cast
Waltz «On hills Manchzhurii», but also the text will stylise under a rhythm and waltz metre, expressing in trehdolnom a dactyl with the truncated third foot, simulating the size ¾ a waltz:

Fur-trees. A hand I unbend

Snow branch, and during an instant

Precisely in a dream revives

Your fur collar.

If attentively to look narrowly and listen to the text it is possible to notice, that rhythmic drawing of a poem reminds rhythmics of the text of a waltz:

Terribly around,

And the wind on hills sobs

At times because of clouds the moon comes up,

Tombs of soldiers shines (a variant of the text of 1906, the author Of this year Peters (the Wanderer)).

Anastas Tsvetaeva repeatedly in the text is placed by emphasis that is a question of a waltz and, moreover, about a waltz «On hills Manchzhurii»: «the Butt - a waltz. And obedient vyju / under a waltz« On hills Manchzhurii ».», «the Waltz, as the sun, pipes.» (This waltz is executed by a wind band), «But I, - (the Waltz the Bronze stream breaks from a step/).», «the Waltz. That the Manchurian shade.» «Listen to pines grey-haired / the Waltz” On hills Manchzhurii ”», «Under a waltz« On hills »- singing / I Will swing a cradle». In rather small poem of 6 times the waltz, from which 4 times - a waltz «On hills Manchzhurii» is mentioned. Thus, the author gives accurate installation on a genre of a waltz and on product «On hills Manchzhurii». If it was known, which version of a waltz A.I.Tsvetaeva (as is known, were 5 variants of the text (and probably and more) this product) it would be possible to find out the certain latent sense, meant the latent message ciphered by the author in lines of a poem.

However in this case the named mentions allow to speak only about some hints, admissible at product interpretation.

Certainly, here there is no speech about the specific genre of a waltz embodied in a poem. But, considering specificity of research and the modest case of poetic products of the author, the given poem was expedient to analyse and present these supervision in section «Musical genres».

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A source: GOLOVEJ Maria Gennadevna. SYNTHESIS of LITERARY And MUSICAL GENRES In LYRIC POET M.I.TSVETAEVA And A.I.TSVETAEVA. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2013. 2013

More on topic musical genres in lyric poet A.I.Tsvetaeva:

  1. GOLOVEJ Maria Gennadevna. SYNTHESIS of LITERARY And MUSICAL GENRES In LYRIC POET M.I.TSVETAEVA And A.I.TSVETAEVA. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2013, 2013
  2. GOLOVEJ MARIA GENNADEVNA. SYNTHESIS of LITERARY And MUSICAL GENRES In LYRIC POET M.I.TSVETAEVA And A.I.TSVETAEVA. The dissertation author's abstract on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2013, 2013
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