Analysis of the poem by M. Tsvetaeva “Two hands, easily lowered .... M. Tsvetaeva “Two hands, easily lowered ... Two hands, easily lowered Tsvetaeva analysis

Marina Tsvetaeva
"Two hands, easily lowered ..."
Two hands, easily lowered
On an infant's head!
There were - one for each -
Two heads have been granted to me.

But both - squeezed -
Furious - as I could! -
Snatching the elder from the darkness -
She did not save the youngest.

Two hands - caress - smooth
Delicate heads are lush.
Two hands - and here is one of them
It turned out to be superfluous during the night.

Light - on a thin neck -
Dandelion on the stem!
I still do not understand at all
That my child is in the ground.
Easter week 1920

Like tears, like mother's bitter tears
With words, all the pain flows in a quiet hysterics.
And it didn't matter how much you spent
Much more important is what they missed.

And the concrete walls beat and collapse
Under the wind of life, fierce in madness,
And the children's houses are made of cardboard.
Well, what are you, trouble, sweeping them away without thinking?

So little warmth that even a woman is weak
Having conquered the whole world with her love,
Standing, I see, in black, and arms crossed,
And tears are flowing transparent cherries.

And word by word, humbly, prayerfully,
Singing will dispel the aching black
Tormented by the wind, worn out by the truth
Native, distant and doomed ...

“I don’t believe, I don’t believe, I don’t believe!” Is heard.
How unfair, how stupid, how wrong!
Another pain is strung on the thread of fate
Another feeling is presented by verses.

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Analysis of the poem by M. Tsvetaeva "Two hands, easily lowered ..."
Poems by Marina Tsvetaeva…. are always sent from some real fact, from something really experienced.
V. Bryusov
Marina Tsvetaeva is an outstanding original poetess not only " silver age”, But also of all Russian literature. Her poems amaze with unprecedented depth, expressiveness of lyricism, self-repentance of the soul, tragic contradictions. These are surprisingly vivid poems about what has been experienced, not just about what has been suffered, but about what has shocked. Already in the first collection of poems, an eighteen-year-old girl in October 1910 defines her life and literary credo, her own dissimilarity. “It was all there. My poems are a diary, my poetry is the poetry of my own names, ”the poetess would write later in the preface to the collection“ From two books ”.
In this connection, the poem "Two hands, easily lowered", dated 1920, was created? Who is it dedicated to? I will try to answer these and other questions in my essay.
In early 1917, Tsvetaeva gave birth to her second daughter. At first she wanted to name her Anna in honor of Akhmatova, but then she changed her mind and named her Irina: "after all, fate does not repeat itself." Hunger, separation from her husband, who joined the ranks of Kornilov's army, two daughters ... In the fall of 1919, in order to feed the children, Tsvetaeva sent them to the Kuntsevo orphanage. But soon the seriously ill Alya (the eldest) had to be taken home, and on February 15 (16) little Irina died of hunger. That very little unhealthy child who, according to V. Zvyagintseva and M. Grineva-Kuznetsova, sometimes spent whole days alone at home, while Tsvetaeva read poetry at a party. The same child, which, with the encouragement of the mother, was neglected by the older sister. A child who knew how heavy a mother's hand was. A child who periodically fell asleep in a chair wrapped in a pile of rags. The "accidental child" with whom Tsvetaeva was clearly burdened. The mother even found out about her death quite by accident, “having come to the League for the Salvation of Children to find out about the sanatorium for Ali, and after taking the eldest daughter home, she no longer visited the orphanage. Didn't come to bury Irina, never visited her grave.
And here is the poem "Two hands, easily lowered ...". There is grief in it "I have not yet understood at all that my child is in the earth ...". Pain and pity are their own panic, but not grief over the loss of a daughter. Tsvetaeva is devastated, but cannot admit that she neglected Irina all the time. Many did not understand her, and she demanded compassion and self-pity from those around her. A mother is always a mother, no matter what difficulties and hardships fall in life. And maybe that's why she was looking for an excuse for herself in the fact that she saved the eldest daughter, but did not save the youngest. Efron's sister Lilya offered to take Irina with her to the village, and then keep the girl with her, but Tsvetaeva refused, and after death she shifted all the blame to her.
The poem "Two hands, easily lowered ..." is written by a chorea.
Two hands, easily lowered
On an infant's head!
There were - one for each -
Two heads have been granted to me.
The rhythmic scheme of the first stanza of the poem:
- - / - - / - - /- - / - -
- - / - - / - - /- - / -
- -/ - - / - - /- - /-
- - / - -/ - - / - - / -
M. Tsvetaeva is one of the most rhythmically diverse poets (Brodsky), rhythmically rich and generous. Her verse is intermittent, uneven, full of sudden accelerations and pauses (elements of free verse):
But both - squeezed -
Furious - as I could! -
Snatching the elder from the darkness -
She did not save the youngest.
Tsvetaeva's rhythm keeps the reader in suspense: if the first quatrain is a plot, a story that she had two daughters, then the second is a story about the struggle for the eldest, the third is the culmination: the youngest died, and the fourth is the result: an appeal to compassion to her Tsvetaeva. As the climax grows, the intonation of the poem also changes: from slow to screaming, and then to sad - grieving.
Tsvetaeva's rhyme is the most unmistakable way of creating an artistic image. Tsvetaeva uses “new rhyme,” as Bryusov once called it. This rhyme is imprecise, with varying shifts in the location and character of the rhyming sounds.
But both - squeezed -
Furious - as I could! -
Snatching the elder from the darkness -
She did not save the youngest.
Her rhyme is a kind of sound repetition. In the first stanza of the poem, these are repetitions of words: two hands - two heads, parts of a word: head - little head; in the second stanza, the repetition of certain combinations: but with both - squeezed, squeezed - furious, squeezed - snatching, could - saved. In the third stanza, there are again repetitions of combinations: magnificent - superfluous (consonance), in the last stanza, repetitions of sounds: thin - incomprehensible (alliteration), repetitions of vowels: on the stem - in the ground (assonances). Moreover, repetitions of vowels (e, o, d, b) are characteristic of the entire poem. The root repetition found in Tsvetaeva (head - head) is a special stylistic device that enhances the expressiveness of speech (the girl is small, that's why she has a head).
In the poem "Two hands, easily lowered ..." there are also internal rhymes, tending vertically:

Dandelion on the stem!
I still do not understand at all
That my child is in the ground.
Such lines split the line into two hemistichs, highlighting each: the first is dedicated to daughter Irina, the second - to understanding - that she is no longer there.
In "Two hands, easily lowered ..." there is a masculine rhyme - an emphasis on the last syllable: "... What is my child in the earth", dactylic - an emphasis on the third syllable from the end: "But both are clamped ...".
Tsvetaeva, seeking the maximum capacity and expressiveness of the phrase, sacrifices the verbs:
Light - on a thin neck -
Dandelion is not a stem!
Hence the sharp transition to the sentence, she seems to be in a hurry, the "ragged syntax" of her poetic speech meets the tragic reality of fate. In the poem there is also a violation of the word order "There were - one for each - Two heads were given to me", which deeper reveals the thought of the previous phrase (for two hands).
One of the most active parts of speech in Tsvetaeva's poetry is adjectives (gentle, magnificent heads, thin neck), and among the features are numerous dashes. The poetess has a dash - not at all the dashes that textbooks recommend. This symbol indicates a change of pace:
But both - squeezed -
Furious - as I could!
The following word is emphasized (after all, a dash is always a small pause): "Two hands - caress - smooth ...", a new unusual characteristic of an object is introduced, already characterized ("... Light - on a thin neck ..."), images
("... But both - squeezed - furious ...").
Wherever a pause, a breath, an intensified continuation is needed in intonation or meaning, Tsvetaeva puts a dash everywhere. The sign of the end of the sentence for the poetess is a break. For Tsvetaeva, feeling is primary, hence the choice between an exclamation, a question and an ellipsis. The exclamations in the first, second and last quatrains emphasize the intensity of the feelings conveyed by the poetess. In the poem "Two hands, easily lowered ..." there is only one comparison in relation to her youngest daughter "dandelion on a stem" and two epithets "on a thin neck" and delicate lush heads. "
The poetry of Marina Tsvetaeva is boundless inner world, the world of soul, creativity and destiny. B. Pasternak, admired by Tsvetaeva's poetic courage, in a letter to her in 1926 noted:
Listen! Poems from the other world
Only we will read them -
As Authors of the Vedas and Testaments
And Pira during the plague.

Marina Tsvetaeva's poems .... always originate from some real fact, from something really experienced.

V. Bryusov

Marina Tsvetaeva is an outstanding original poetess not only of the "Silver Age", but of all Russian literature. Her poems amaze with unprecedented depth, expressiveness of lyricism, self-repentance of the soul, tragic contradictions. These are amazingly vivid poems about what has been experienced, not just about what has been suffered, but about what has been shocked. Already in the first collection of poems, an eighteen-year-old girl in October 1910 defines her life and literary credo, her own dissimilarity. "All this was. My poems are a diary, my poetry is the poetry of proper names," the poetess would write later in the preface to the collection "From two books".

In this connection, the poem "Two hands, easily lowered", dated 1920, was created? Who is it dedicated to? I will try to answer these and other questions in my essay.

In early 1917, Tsvetaeva gave birth to her second daughter. At first she wanted to name her Anna in honor of Akhmatova, but then changed her mind and named her Irina: "after all, fate does not repeat itself." Hunger, separation from her husband, who joined the ranks of Kornilov's army, two daughters ... In the fall of 1919, in order to feed the children, Tsvetaeva sent them to the Kuntsevsky orphanage. But soon the seriously ill Alya (the eldest) had to be taken home, and on February 15 (16) little Irina died of hunger. That very little unhealthy child who, according to V. Zvyagintseva and M. Grineva-Kuznetsova, sometimes spent whole days alone at home, while Tsvetaeva read poetry at a party. The same child, which, with the encouragement of the mother, was neglected by the older sister. A child who knew how heavy a mother's hand was. A child who periodically fell asleep in a chair wrapped in a pile of rags. The "accidental child" with whom Tsvetaeva was clearly burdened. The mother even found out about her death quite by accident, “having come to the League for the Salvation of Children to find out about Ali’s sanatorium, and after taking her eldest daughter home, she didn’t come back to the orphanage. She didn’t come to bury Irina, never visited her graves.

And here is the poem "Two hands, easily lowered ...". There is sorrow in it "I have not yet understood at all that my child is in the earth ...". Pain and pity are their own panic, but not grief over the loss of a daughter. Tsvetaeva is devastated, but cannot admit that she neglected Irina all the time. Many did not understand her, and she demanded compassion and self-pity from those around her. A mother is always a mother, no matter what difficulties and hardships fall in life. And maybe that's why she was looking for an excuse for herself in the fact that she saved the eldest daughter, but did not save the youngest. Efron's sister Lilya offered to take Irina with her to the village, and then keep the girl with her, but Tsvetaeva refused, and after her death she shifted all the blame to her.

The poem "Two hands, easily lowered ..." is written by a chorea.

Two hands, easily lowered

On an infant's head!

There were - one for each -

Two heads have been granted to me.

The rhythmic scheme of the first stanza of the poem:

- - / - - / - - /- - / - -

- - / - - / - - /- - / -

- -/ - - / - - /- - /-

- - / - -/ - - / - - / -

M. Tsvetaeva is one of the most rhythmically diverse poets (Brodsky), rhythmically rich and generous. Her verse is intermittent, uneven, full of sudden accelerations and pauses (elements of free verse):

But both - squeezed -

Furious - as I could! -

Snatching the elder from the darkness -

She did not save the youngest.

Tsvetaeva's rhythm keeps the reader in suspense: if the first quatrain is a plot, a story that she had two daughters, then the second is a story about the struggle for the eldest, the third is the culmination: the youngest died, and the fourth is the result: an appeal to compassion to her Tsvetaeva. As the climax grows, the intonation of the poem also changes: from slow to screaming, and then to sad - grieving.

Tsvetaeva's rhyme is the most unmistakable way of creating an artistic image. Tsvetaeva uses "new rhyme," as Bryusov once called it. This rhyme is imprecise, with varying shifts in the location and character of the rhyming sounds.

But both - squeezed -

Furious - as I could! -

Snatching the elder from the darkness -

She did not save the youngest.

Her rhyme is a kind of sound repetition. In the first stanza of the poem, these are repetitions of words: two hands - two heads, parts of a word: head - little head; in the second stanza, the repetition of certain combinations: but with both - squeezed, squeezed - furious, squeezed - snatching out, could - saved. In the third stanza, there are again repetitions of combinations: magnificent - superfluous (consonance), in the last stanza, repetitions of sounds: thin - incomprehensible (alliteration), repetitions of vowels: on the stem - in the ground (assonances). Moreover, repetitions of vowels (e, o, d, b) are characteristic of the entire poem. The root repetition found in Tsvetaeva (head - head) is a special stylistic device that enhances the expressiveness of speech (the girl is small, that's why she has a head).

In the poem "Two hands, easily lowered ..." there are also internal rhymes, tending vertically:

Dandelion on the stem!

I still do not understand at all

That my child is in the ground.

Such lines split the line into two hemistichs, highlighting each: the first is dedicated to daughter Irina, the second - to understanding - that she is no longer there.

In "Two hands, easily lowered ..." there is a masculine rhyme - an emphasis on the last syllable: "... What is my child in the earth", dactylic - an emphasis on the third syllable from the end: "But both are clamped ...".

Tsvetaeva, seeking the maximum capacity and expressiveness of the phrase, sacrifices the verbs:

Light - on a thin neck -

Dandelion is not a stem!

Hence the sharp transition to the sentence, she seems to be in a hurry, the "ragged syntax" of her poetic speech meets the tragic reality of fate. In the poem there is also a violation of the word order "There were - one for each - Two heads were given to me", which deeper reveals the thought of the previous phrase (for two hands).

One of the most active parts of speech in Tsvetaeva's poetry is adjectives (gentle, magnificent heads, thin neck), and among the features are numerous dashes. The poetess has a dash - not at all the dashes that textbooks recommend. This symbol indicates a change of pace:

But both - squeezed -

Furious - as I could!

The following word is emphasized (after all, a dash is always a small pause): "Two hands - caress - smooth ...", a new unusual characteristic of an object is introduced, already characterized ("... Light - on a thin neck ..."), are pumped images

("... But both - squeezed - furious ...").

Wherever a pause, a breath, an intensified continuation is needed in intonation or meaning, Tsvetaeva puts a dash everywhere. The sign of the end of the sentence for the poetess is a break. For Tsvetaeva, feeling is primary, hence the choice between an exclamation, a question and an ellipsis. The exclamations in the first, second and last quatrains emphasize the intensity of the feelings conveyed by the poetess. In the poem "Two hands, easily lowered ..." there is only one comparison in relation to her youngest daughter "dandelion on a stem" and two epithets "on a thin neck" and delicate lush heads ".

The poetry of Marina Tsvetaeva is a boundless inner world, the world of the soul, creativity and destiny. B. Pasternak, admired by Tsvetaeva's poetic courage, in a letter to her in 1926 noted:

Listen! Poems from the other world

And Pira during the plague.