Abstracts Statements Story

The comprehensive theme of love in the lyrics of M. I

It is impossible to imagine the heroine of Tsvetaeva’s lyrics outside of love, which would mean for her outside of life. Premonition of love, expectation of it, disappointment in a loved one, jealousy, pain of separation - all these states of Tsvetaeva’s heroine are captured in love lyrics in numerous nuances. It can be quiet, reverent, reverent, tender - and reckless, spontaneous. At the same time, she is always internally dramatic.

The young heroine feels with particular acuteness the variability and captivating nature of every moment. The desire to remain in the memory of a loved one is heard, for example, in the poem “Inscription in the Album” (1909-1910):

Let me be just a verse in your album,

Barely singing like a spring...

So be it.

But in a half-languor

You're hanging over the page...

You will remember everything...

Can you hold back your scream...

Let me be just a verse in your album!

Love never becomes a serene delight for the lyrical heroine. In love, she asserts her right to act. She is decisive and uncompromising both in affirmation (“I will conquer you from all lands, from all heavens...”) and in denial (“Gypsy passion of separation! As soon as you meet you, you’re already rushing away!”). “About this” Tsvetaeva writes the tragic “Poem of the Mountain”, “Poem of the End” (1924), and lyrical miniatures of an almost diary nature:

And in the confinement of winter rooms

And the sleepy Kremlin -

I will remember, I will remember

Spacious fields.

And the light country air,

And noon and peace, -

And a tribute to my feminine pride

Your male tears.

Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of her feelings makes her love all-encompassing. True feeling, according to Tsvetaeva, lives not only in the innermost depths of the soul, but also permeates the whole the world. Therefore, the very phenomena of this world in the heroine’s mind are often connected with the image of her beloved. This is evidenced, for example, by the 1923 poem “Builder of Strings...”:.

...(In this June

You cry, you are the rain!)

And if there is thunder on our roofs,

Rain - in the house, downpour - completely, -

So you are writing a letter to me,

Which you don't send.

Your brain is moving like poetry...

The movement of one human heart to another is a natural part of existence, an immutable law of life. The conditionality of human connections by this law is emphasized in the poem “The world began in the darkness of nomadism...”. (1917), where the gravitation of hearts, the search for protection and peace, the search for warmth are compared with the journey of stars and trees.

Tsvetaeva’s heroine is convinced that feelings have enormous power; they can be controlled by distance and time. In the poem “Nobody took anything away...” (1916) she writes:

More tender and irrevocable

No one looked after you...

I kiss you - through hundreds

Years of separation.

The heroine is characterized by the desire to overcome all the obstacles that stand in the way of feelings, to overcome the influence and pressure of circumstances. (Let us remember Pushkin’s: “Love and friendship will reach you / Will reach you through gloomy gates...”) Concentration of the soul, immersion in love is an important feature of the lyrical heroine. She places too high a value on herself and others to be content with the “average temperature” of passions.

However, Tsvetaeva’s love lyrics reveal to us a soul that is not only rebellious and willful, but also unprotected, vulnerable, and yearning for understanding. She urgently needs the participation of a loving heart:

Unexpired tenderness is suffocating.

Even if you fall in love with me, I’ll accept it!

Indifferent friend! -

So scary to listen to

Black midnight in an empty house!

Tsvetaeva’s theme of failed love takes on a tragic sound. The main drama of love for the heroine is the “clearing up” of souls, non-meeting. Two people destined for each other are forced to part. Many things can separate them - circumstances, people, time, impossibility of understanding, lack of sensitivity, mismatch of aspirations. One way or another, too often Tsvetaeva’s heroine has to comprehend the “science of parting.” This is also stated in the 1921 poem from the “Separation” cycle:

It's getting better, it's getting better

Wring your hands!

There are not miles between us

Earthly - separations

Heavenly rivers, azure lands,

Where is my friend forever already -

Inalienable.

Only in a different, better world - the world of “intentions,” as Tsvetaeva puts it, is it possible to gain the fullness of feeling: “not here, where it is crooked, / but where it is straightened.” Only there everything that has not come true comes true. And when earthly life separates people who need each other (“And he will not look back / Life is steep-browed! / There is no date here! / There is only a farewell here...”), Tsvetaeva, with all the energy of her poetic “I,” rebels against this. Thus, in one of the most dramatic poems about love - “Distance: miles, miles...” (1925) we hear not a powerless complaint or lamentation, but an angry, furious cry. The lines of the poem sound not like a list of losses, but like an accusation. The poet's word confronts the terrible elements of the destruction of human connections.

Let us dwell in more detail on two poems - “For Joy” (collection “Magic Lantern”) and “Love! Love! And in convulsions, and in the coffin...” (1920).

In the first poem, Tsvetaeva gleefully proclaims the joy of being. Love extremely sharpens the perception of the world. The heroine in love sees poetry in everything - in the mysterious “dusty roads” that go into the distance, remembering many travelers, and in the short-lived charm of “huts for an hour”, and in the fabulous “animal dens”, and in captivatingly beautiful, like ancient music, “ palaces." Love gives her a feeling of fullness of life: “Dear, dear, we are like gods: / The whole world is for us!” The confidence that sounds victorious here is that for lovers, home is everywhere, home is the whole world! It seems to them that everything around them was created for them alone, it’s easy for them everywhere, and that’s why the heroine exclaims with such delight: “We are at home everywhere in the world.” It is love that returns to the heroine her childhood sense of power over the world. Hence the rejection of the “home circle”, because at this moment “the open space and greenery of the meadow” are more valuable to her. At this moment it is so important for her to feel freedom, to see the rainbow palette of existence, to feel the spaciousness of her feelings, thoughts, her heart, her soul. She is captured and enchanted by love, and everything else seems unimportant, insignificant. While she does not want any other captivity - even the captivity of a cozy home - except for the sweet, happy, selfless captivity of love: “Dear, dear, with each other / We are forever in captivity!”

The second poem can be called a kind of oath of fidelity to love:

And in convulsions, and in the coffin

I’ll be wary - I’ll be seduced - I’ll be embarrassed - I’ll rush.

Oh dear! -

Not in a grave snowdrift,

I won’t say goodbye to you in the clouds.

For a heroine endowed with a warm heart, love is also an opportunity for complete self-expression and self-disclosure. This is the wealth of the soul, which she is ready to generously and recklessly share, seeing precisely this as the purpose and meaning of her existence: “And that’s not why I was given a pair of beautiful wings / Given to keep pounds on my heart!” Love, according to Tsvetaeva, liberates the soul, gives a feeling inner freedom, rediscovers himself to a person. Hence the proud confidence: “Swaddled, eyeless and voiceless / I will not increase the miserable settlement.” Love reveals enormous spiritual strength - strength that can withstand death itself:

Elastic body

With a single wave from your shrouds,

Death, I'll knock you out! -

Miles per thousand in the area

The snow has melted - and the forest of bedrooms.

Love is eternal; according to the poet’s thoughts, it is fused with the world of nature and art, since it is the embodiment of the creative principle of existence. Love cannot die - it is eternally reborn, being transformed with inspiration. Even loving person leaves earthly life, his love remains in this world, so that, “laughing at decay, rise up in verse - or bloom like a rose!”

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Composition

The life of Marina Ivanovna Tsvetaeva was composed and decorated by two passions - poetry and love. She lived by them, they were her air, which she reveled in, they, in fact, were her. The poetess’s work is inseparable from the pages of her biography. Her poetry is the poetry of living life human soul, and not invented “extraordinary” concepts, not rational constructions. The lyrical heroine of her poems is herself, her loving heart, her restless soul.

Tsvetaeva, in my opinion, is one of the few who trampled our mortal earth, who understood Love in the true sense of the word. To love, in spite of everything, to love, giving oneself and not demanding anything in return, to love sincerely and beautifully, tenderly, to love with your strange, crazy, all-consuming love.

I consider her poems about love to be the most subtle, most accurate, sincere, truthful, in which she exposed herself, cried and experienced her enormous loving soul. Every word in her poems is an experienced feeling, tremblingly transferred to paper:

From the chest mercilessly

Gods - let it be thrown off!

Love got to me

Any: big!

To the chest...

Don't rule!

Without words and in words -

To love… Spread out

In the world - a swallow!

In 1940, Tsvetaeva wrote in her diary: “I owe all my poems to the people I loved—who loved me—or didn’t.” Tsvetaeva considered “Unrequited. Hopeless. Without interference from the receiving hand. “It’s like an abyss” of love, as she spoke about in a letter to Pasternak:

Love! Love! And in convulsions and in the coffin

I’ll be wary - I’ll be seduced - I’ll be embarrassed - I’ll rush.

Oh honey! Not in a grave snowdrift,

I won’t say goodbye to you in the clouds.

Young Marina longed for love, and she accepted the invitation into her soul, becoming a companion for life. And as a result, in Tsvetaeva’s legacy we have been left with a lot of intimate evidence, almost every outburst of feelings, every heartbreak is recorded, highlighted and enlarged a hundredfold by the strongest spotlight - poetry.

The poetess dedicated more than a dozen poems filled with warm, deep feeling to her passionately and dearly beloved husband:

I wrote on a slate board,

And on the leaves of faded fans,

Both on river and sea sand,

Skates on the ice and a ring on the glass, -

And on trunks that have survived hundreds of winters...

And finally - just so you know! -

What do you love! love! love! -

She signed it with a heavenly rainbow.

Love was the meaning of her life; she equated “to love” and “to be.” This feeling was everything for her: inspiration, passion, “all gifts” at once, tragedy, and art. In “The Poem of the End,” Tsvetaeva brilliantly and simply stated: “Love means life,” “Love is all gifts / Into the fire and always for free!”

Marina Tsvetaeva’s poems “shock with electricity”, make the soul “turn over”, suffer and cry along with her lyrical heroine, becoming purer and better. They teach to love with the most sincere, bottomless and bright love.

The theme of love in Tsvetaeva's lyrics.

Like for any woman, for Marina Tsvetaeva love was an important part of life, perhaps the most important. It is impossible to imagine the heroine of Tsvetaeva's lyrics outside of love, which would mean for her - outside of life. The premonition of love, the expectation of it, blossoming, disappointment in a loved one, jealousy, the pain of separation - all this sounds in Tsvetaeva’s lyrics. Her love takes on any form: it can be quiet; trembling, reverent, tender, and maybe reckless, spontaneous, frantic. In any case, she is always internally dramatic.
The young heroine Tsvetaeva looks at the world broadly with open eyes, absorbing life at all pores, opening up to it. It's the same in love. Prudence and prudence are incompatible with sincere, deep feeling. To give everything, to sacrifice everything - this is the only law of love that Tsvetaeva accepts. She does not even strive to win her beloved; it is enough for her to be “just a verse in your album.”
Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of her feelings makes her love comprehensive, permeating the entire world around her. Therefore even natural phenomena often associated with the image of a loved one:
You are a fraction of stream voices
Your brain is moving like poetry...
The movement of one human heart to another is an immutable law of life, a natural part of existence. And if for other people separation often weakens feelings, then for Tsvetaeva it’s the opposite. Love intensifies a thousandfold when away from the beloved; distance and time have no power over it:
More tender and irrevocable
No one looked after you...
I kiss you through hundreds
Years of separation.
Separation, separation, failed love, unfulfilled dreams are a frequent motif in Tsvetaeva’s love lyrics. Fate separates two people destined for each other. The reason for separation can be many things - circumstances, people, time, inability to understand, lack of sensitivity, mismatch of aspirations. One way or another, Tsvetaeva’s heroine too often has to comprehend the “science of parting.” This tragic worldview is best reflected in just two lines of the famous poem:
O cry of women of all times:
“My dear, what have I done to you?”
Here is the age-old sorrow of all women in the world - Tsvetaeva’s contemporaries, women who died long before her and were not yet born - and own suffering, and a clear understanding of doom. This poem is about when one of the two leaves, and there is an even more difficult separation - by the will of circumstances: “They broke us - like a deck of cards!” Both separations are difficult, but neither has the power to kill feelings.
Jealousy, the constant companion of love and separation, also did not remain aloof from Tsvetaeva’s lyrics. Lines about jealousy touch no less than lines about tender feelings, but they sound a hundred times more tragic. The most striking example of this is “Attempt of Jealousy.” Along with Tsvetaeva’s characteristic torment from the loss of love, there is so much bile, so much bitter sarcasm that the author of the lines appears in a completely new light. She has a thousand faces, and you never know which one will appear in the next poem.
The image of the lyrical heroine in Tsvetaeva’s work is double. On the one hand, this is a woman full of tenderness, vulnerable, thirsting for understanding (“Unlived tenderness is suffocating”), on the other hand, she is a strong personality, ready to overcome all obstacles and confront the whole world, defending her right to love and happiness. Both appearances are two sides of the same coin, a single whole, appearing in different guises. A heroine with these traits is characterized by a concentrated soul, immersion in love until complete dissolution. At the same time, she is not subject to self-destruction and maintains the integrity of the individual. In all this - Tsvetaeva herself. Images and feelings are not far-fetched, since sincerity is the poetess’s main weapon.
But one should not conclude that in Tsvetaeva’s love lyrics the main place is occupied by failed love, unrequited or rejected feelings. Her poems are like life itself; they are both hopeless and hopeful, both dark and bright. Sometimes the heroine appears full of serene happiness and a sense of celebration, breathing in life itself with all her breasts:
Darling, darling, we are like gods:
The whole world is for us!
And it is no longer an embittered woman, tormented by jealousy, who looks at us, but a young girl, reveling in love, full of unspent tenderness.
Love never dies, it simply reincarnates, takes on different guises and is forever reborn. This constant renewal for Tsvetaeva is explained very simply: love is the embodiment of creativity, the beginning of being, which has always been so important to her. Just as she could not live and not write, so she could not live and not love. Tsvetaeva belongs to those few people who managed to perpetuate both themselves and their love.

Marina Tsvetaeva is the brightest representative lyric poetry XX century, along with Anna, these two famous women are constantly compared, looking for similarities and differences in them, common intonations, style and manner of writing poetry. However, upon careful study of this issue, one can discover that Tsvetaeva and Akhmatova are completely different creative units: just as ice is not like fire, so Tsvetaeva is far from Akhmatova. The heroine of Anna Akhmatova's poems, on whose behalf she writes, is an aristocratic, restrained nature, inclined to analyze feelings, emotions, and actions.

Tsvetaeva is not Akhmatova

Tsvetaeva's love lyrics are presented by a heroine who is very emotional, open, sometimes inconsistent, and changeable. She does not engage in contemplation of the world, rarely falls into the autumn mood of unrequited feelings. She gives herself all to love - without reserve, passionately and emotionally. By the way, Marina Tsvetaeva idolized Anna Akhmatova and was her admirer all her life.

In poetry it is different

Tsvetaeva's love lyrics, whose poems are called the poetic heritage of the 20th century, are twofold: they contain sacrifice and persistence, assertiveness and questioning. This dichotomy can be traced in many of her works.

Tsvetaeva’s heroine is also different: sometimes she behaves like a woman experienced in love affairs, who looks with a somewhat ironic look at the manifestation of feelings and behavior towards her of a man in love (“Where does such tenderness come from?”), sometimes she presents herself as a witch (“So that he remembers not an hour, not a year..."). From a faithful wife (“S.E.”) she can transform into a lover who was rejected (“Gypsy Passion of Separation”). The heroine of Tsvetaeva’s poems often talks about men who once loved her, but now their feelings for her have cooled. The narrator in the following lines shows her domineering and capricious nature and makes a rather expressive reproach to the chosen one, who no longer dreams of her and does not praise her as before: “Yesterday - I was lying at my feet!”

Poetry. Analysis

Let's try to analyze a few poems in order to identify the features of Tsvetaeva's love lyrics, whose works resonate in the souls of modern poetry lovers, which in itself is not so surprising.

Despite the fact that Marina Tsvetaeva lived in a fairly distant time from us, her works are still relevant. After all, human feelings and emotions, which are so figuratively depicted in her work, are unchanged. In addition, she makes you fall in love with her poems thanks to her amazing talent for expressing her worldview in simple and understandable lines for everyone: here there is no need to pore over sophisticated words, trying to understand the essence of this or that poetic work.

Tsvetaeva’s love lyrics in the verse “Like the right and left hand” fascinate with its femininity, softness of words, gentle intonation:

We are adjacent, blissfully and warmly,

Like the right and left wing.

But the whirlwind rises - and the abyss lies

From right to left wing!

The narrator reveals the similarity and identity of souls in the first two lines. And this state of community evokes in the heroes of this verse a feeling of coziness and comfort, which, unfortunately, does not last very long. The last sentences of the verse demonstrate the gap that has formed between two lovers, which becomes an insurmountable barrier for them. Tsvetaeva, with the words of her heroine, seems to confirm the well-known thesis: happiness does not last forever. No matter how much we want it.

And the look of youth at the world

In the poem “From a Fairytale to a Fairytale,” the adult heroine looks at the world with the surprised gaze of a girl and asks her chosen one to help her always remain young in relation to life and love relationships:

Don't let me be surprised

Be like a boy in a terrible secret

And in her rage she is tender

Tsvetaeva’s love lyrics in the poem “To be tender, furious and noisy” show the heroine’s love for life and the range of conflicting emotions and feelings overwhelming her. Everywhere the reader sees the author’s use of antitheses, for example: “eternal pink is the palest of all.” This poem was written by Tsvetaeva during her stay with her husband and daughter in Feodosia. Apparently, then Tsvetaeva was in a state of understanding the world, accepting life as it is. That is why the poetess uses such verbs as “to be” and “to become.” The heroine of the poem is interested not only in the world around her, but also in her own feelings: she captures in words the little things that are dear to her. For example, the bracelet that she sees “on this narrow, this long hand of mine.” However, studying herself as if from the outside, the heroine speaks about oblivion, apparently finding in this state also a certain meaning of existence:

And hair shine.

And the verse ends with a philosophical look into the future. The author denotes his thoughts on the inviolability of the world with the final lines:

And the moons will melt the same way

And melt the snow

When this young one rushes by,

A lovely age.

Tsvetaeva's love lyrics also include discussions about the opposition of the sexes. In the poem “Under the Caress of a Plush Blanket,” the narrator slowly talks about the “duel of willfulness,” in which it is unclear which of the two lovers is assigned the role of prey, and which of the hunter, and who still emerged victorious from this confrontation of personalities. She never finds an answer to these questions.

Love and death will overthrow

Marina Tsvetaeva's love lyrics also touch on the eternal theme of the struggle between Love and Death. In the verse “Love! Love!" they are fighting in the boundless world of the poetess. The narrator's feelings are changeable: at first she is incredulous, then passionate, and later confused. And all this is followed by escape. In general, this work is about the victory of love over death. For some people, whom the lyrical heroine described with the words “swaddled, eyeless and voiceless,” love is a trap. The heroine of this poetic story, unlike them, does not want to “hold pounds in her heart.” She strives for freedom and is confident that she will achieve this goal, because she has “a pair of beautiful wings.”

How diverse are the love lyrics of M. Tsvetaeva! Her poems are immeasurable. Her poems are eternal. They are love, which means they are incorruptible.

N. I. Kopylova
About love in the lyrics of M. Tsvetaeva and A. Akhmatova:
comparative analysis

The theme of love is eternal and always new. The lyrics of the great poets preserve that universal humanity that has been experienced by people of different centuries and countries and that is experienced by us again and again. But at the same time, love lyrics are interesting to the reader for the variety of poetic individualities, since it allows, on the one hand, to penetrate into the unique world of this or that poet, and on the other hand, to feel the different shades of love and thereby feel the multidimensionality of one’s own soul. About the perception of the love lyrics of poets of different characters, L. Ginzburg wrote that “when Heine begins a conversation with his beloved, we know that sooner or later he will say something insolent to her”; listening to Ya. Polonsky, “someone is already ready to cry over lost love”; whereas no one with “the most hopeless love” will cry over “I loved you, Love can still be...”, “not a single person who reveres poetry. It is tactless to shower Pushkin with tears. This is not the right reaction.”
Anna Akhmatova and Marina Tsvetaeva - these names in the minds of readers mutually, like a magnet, attract each other, and especially in love lyrics. And this is understandable, since in this topic poets often talk about the same thing, although in different ways. So, for the lyrical heroines of the lyrics A. Akhmatova and M. Tsvetaeva, love is first of all pain:
From your mysterious love,
As if in pain, I scream...
(433)

The pain is as familiar to the eyes as a palm,
Like lips -
Own child's name.

For both, one of the main things in love lyrics is the state of an abandoned woman who has fallen out of love. That’s why it’s so natural for Tsvetaeva’s and Akhmatova’s (in that order) lines to merge, as it were, into one poem, united in the development of its meaning:
Yesterday I looked you in the eye.
And now everything is looking sideways!
Yesterday I was sitting before the birds -
All larks these days are crows!
(152)

Oh, life without tomorrow!
I catch betrayal in every word,
And waning love
A star is rising for me.
(158)

In this experiment, as we see, there is not even rhythmic dissonance, despite all the differences in the artistic manners of the poets’ lyrics in general.
A common theme in the lyrics of A. Akhmatova and M. Tsvetaeva is the attitude of both lyrical heroines towards their rival: indifference, a sense of proud female superiority, but not envy or jealousy towards her - a “simple woman”, “market dust” (M. Tsvetaeva ), “fool” (A. Akhmatova).


But how often do two voices of female poets merge into one on the theme of love? No. And this is evidenced by the general reader’s perception of their love lyrics. There are interesting features in this perception. When asked whose love lyrics - A. Akhmatova or M. Tsvetaeva - do you like better, men answer much more often than women: “Of course, A. Akhmatova.”
More than once I had to hear from men’s lips addressed to the lyrical heroine M. Tsvetaeva: “So she’s hysterical!” Of course, this is not a literary assessment. And this is not an absolute, but a definite trend in perception, resulting from our reader survey. It is not only a fact of real everyday psychology, but, reflecting it, has penetrated into modern poetry. Let us quote A. Korolev’s poem, written as a response to M. Tsvetaeva:

with a woman without sixths
feelings live without hysterics,
without convulsions or grimaces
convulsions and confusion,
exposed,
written on gesso...
Ungenerous gesture
but I live, my word is true,
with a woman without deities
like in the bosom of Christ.
Let's be fair: this is not the whole meaning of the poem, it is more complex. But still, this is part of the point.
Another feature of the perception of M. Tsvetaeva’s lyrics is that she is credited with a masculine, strong beginning. But the paradox is that when asked whose love lyrics - A. Akhmatova or M. Tsvetaeva - do you like better, women answer much more often: “Of course, M. Tsvetaeva!”
So what is deeply feminine in M. Tsvetaeva’s lyrics? And what is different in the feeling of love between M. Tsvetaeva and A. Akhmatova? Answering these questions is the goal of our further discussions.
So, the first “but” between the lyrical heroines A. Akhmatova and M. Tsvetaeva. Here are a few quotes from A. Akhmatova’s lyrics from different years:
I know how to love,
I know how to be submissive and gentle.
I can look into your eyes with a smile
Alluring, inviting and unsteady.
(303)

I know how to love. I'm deceptively shy.
I am so timidly tender and always silent.
Only my eyes speak.
(303)

* * *
I have one smile:
So, the movement of the lips is slightly visible.
I'm saving it for you -
After all, she was given to me by love.
(56)

She sat down like a porcelain idol,
In the pose she had chosen long ago.
(98)

You have to be a psychologically brilliant woman in order to put a great feeling (and not just coquetry) into the form needed by your loved one: “choose” a look, a smile, a pose, deceptive modesty.
What is similar to this to quote from the lyrics of M. Tsvetaeva? Nothing. Nothing at all. There is no love-game in her lyrics, there is never a vision of oneself from the outside. Instead of play, there is an uncontrollable avalanche of feeling in all its overflowing strength and openness. In all his activity, if I may say so:
I will conquer you from all lands, from all heavens.
Because the forest is my cradle and the forest is my grave.
Because I stand on the ground with only one foot.
Because I will sing about you like no one else.
I will win you back from all times, from all nights,
All the golden banners, all the swords,
I'll throw in the keys and chase the dogs off the porch -
Because in the earthly night I am more faithful than a dog.
I will win you back from all the others - from that one,
You will not be anyone's groom, I will not be anyone's wife.
And in the last argument I will take you - shut up! -
The one with whom Jacob stood in the night.
(56)
Unfeminine? Like a man? Against. A deeply feminine nature is expressed here, only different than in A. Akhmatova’s lyrics. I'll turn to the authorities. So, even G. Flaubert, an expert on the female soul, said that when a man truly loves, he becomes timid; When a woman truly loves, she acts. And here are the reflections on the male and female philosopher of the Akhmatov-Tsvetaev era N. Berdyaev. They are directly related to our analysis: “...female nature is so prone to...obsession. Female hysteria has a connection with this feature of female nature, and its roots are metaphysical. Everything that is high in a woman and everything low in her is connected with this , a terrible alienness to her masculine nature... A woman is often a genius in love, her attitude to love is universal, she puts the fullness of her nature into love... A man is more talented than a genius in love, his attitude to love is not universal. .. he does not invest all of himself in love... And in the element of female love there is something terribly terrible for a man, something menacing and absorbing, like an ocean... The claims of female love are so immense that they can never be fulfilled by a man. From this soil arises the hopeless tragedy of love." Hence the repulsion by the male soul of the essentially feminine principle in the love lyrics of M. Tsvetaeva. By the way, it’s rare that a woman in her life hasn’t heard at least once: “You’re hysterical!”
So, love is unbridled, immeasurable, open in recognition to the beloved - a deeply feminine feeling. In its literary origins, it is akin to Tatyana Larina’s love, which results in an act - a letter to E. Onegin. But it is impossible to put an equal sign here, since the expression of love of the lyrical heroine M. Tsvetaeva is exaggerated by another time, century, character!
However, let us go further in groping for the next “buts” in the love lyrics of A. Akhmatova and M. Tsvetaeva. The second difference is this. The lyrical heroine of A. Akhmatova is wise: she is endowed with knowledge of the limit of closeness of souls - male and female (a motif that has literary roots in the love lyrics of F. Tyutchev). For the lyrical heroine, this knowledge is bitter, acquired through the experience of feeling and life. The knowledge is bitter, but understood by the lyrical heroine as a psychological law:
There is a cherished quality in the closeness of people,
She cannot be overcome by love and passion, -
Let the lips merge in eerie silence
And the heart is torn to pieces by love,
And friendship is powerless here, and the years
High and fiery happiness...

Those who strive for her are mad, and her
Those who have achieved it are struck with melancholy...
(83)

The lyrical heroine M. Tsvetaeva does not seem to understand this law. Or doesn't want to understand:
Like right and left hand
Your soul is close to my soul.
We are united blissfully and warmly,
Like the right and left wing.
But the whirlwind rises - and the abyss lies
From right to left wing.
(144)
The important thing is that the “whirlwind” between lovers in M. Tsvetaeva’s lyrics is not psychological, not from within their relationship, as in the lyrics of A. Akhmatova (and earlier in the lyrics of F. Tyutchev), but from the outside: interstitial space, space, something like:
Distance: versts, miles...
We were arranged, seated,
To behave quietly,
At two different ends of the earth.
(287)
The desire of the lyrical heroine M. Tsvetaeva to erase the line between her soul and the soul of her beloved is also very feminine. Let's turn to the science of psychology. In the recently released scientific work in psychology human relations we read: “... a man prefers to communicate with a woman on long waves, and a woman on short waves,” “a woman would like to be frank, open and understood; a man would like to see mystery and enigma in a woman.” And if you rediscover N. Berdyaev, then you cannot help but pay attention to his thoughts about the connection between men and women by gender and spirit. Love, according to N. Berdyaev, is not “carrying the burden and burden of the “world” and “sex”, but “creative boldness”, love is always “not of this world”, it expresses world harmony and spiritually gravitates towards the merging of souls, to "androgyny"... In this sense, the love lyrics of M. Tsvetaeva and A. Akhmatova are at opposite poles.
According to N. Berdyaev, enmity, jealousy, and ancestral origins exist in the field, but not in love. We will not judge whether this judgment is completely fair; we will only note that these feelings are fully expressed in the love lyrics of A. Akhmatova. In it, at the feet of the lyrical heroine - male jealousy:
Whispers: "I won't regret it
Even what I love so much -
Or be completely mine
Or I'll kill you."
It buzzes above me like a gadfly,
Continuously for so many days.
This is the most boring argument
Your black jealousy.
(143)
She also has such a gift as male fidelity, which is not needed by the lyrical heroine:
I chose my share
To the friend of my heart:
I let you go free
On his Annunciation.
Yes, the gray dove has returned,
Beats its wings against the glass...
(111)
In A. Akhmatova’s lyrics, the suffering role very often belongs to a man. He is a “tortured owlet”, “a toy boy”, “a restless one”. The Trouble of Love may happen to him:
So that's when trouble happened to you.
Trouble happened - you knew it.
Now you know that with nothing in the world
It cannot be compared and satisfied.
That thirst that comes once in a century,
Or maybe less often, poor friend.
Nor the winds of free oceans,
Not the smell of tropical forests,
Neither gold nor tavern vodka,
Not Skipper's strongest cognac,
Not music when it's heavenly
It becomes and carries us upward...
Not even that blessed memory
About first and unconscious love,
Not what people call fame,
Why would anyone agree to die...
(379)
The lyrical heroine of M. Tsvetaeva says: “... not a single lover brought me out of the house.” For the lyrics of M. Tsvetaeva, the law is that the torment of love, suffering is only a woman’s lot. Here is a figurative expression of this thought:
Two trees want each other.
Two trees. Opposite is my house.

The smaller one stretches out its arms,
Like a woman from the last veins
Stretched out - it’s cruel to look at,
How it reaches out - to this, to the other,
What is older, more resilient and - who knows?
Even more unfortunate, perhaps.
(327)

Fun in love, mischief, smile... We will find all this in the lyrics of A. Akhmatova, but not M. Tsvetaeva. The very words “cheerful” and “mischievous” appear quite often in Akhmatov’s lines:
I'm drunk with you funny -
There is no point in your stories.
(31)

I love your green eyes
OS cheerful drive away
(59)

I won't drink wine with you,
Because you're a boy mischievous.
(69)

But in the lyrics of A. Akhmatova, and again not M. Tsvetaeva, there are also many cruel jokes, evil, curses, disgust, betrayal that invade love relationships:
You hate me. And the torture lasted
And how the criminal languished
Love full of evil.
(158)

* * *
Is that why I kissed you?
Is that why I suffered, loving,
So that now it’s calm and tired
I remember you with disgust.
(142)

* * *
You ask what I did to you
Entrusted to me forever by love and fate
I betrayed you...

This is not the case in M. Tsvetaeva’s love lyrics, it is simply unthinkable, impossible. All these shades of feeling of the lyrical heroine A. Akhmatova come from the understanding of love as passion, love as a struggle, a duel of souls (the literary origins of the motives again go back to the lyrics of F. Tyutchev). In the love lyrics of M. Tsvetaeva, there is no “equivalent” to the soul of the lyrical heroine, there is no struggle, no duel, there is only dedication of oneself to a loved one. He is “desired”, “stinged”, “sick”!
The following difference between love lyrics poets is that the lyrical heroine of A. Akhmatova always carries in her soul the memory of love, be it memory-heaviness or memory-gratitude: “Heavy are you, love memory!", "But memory about you, like that burning bush, Lights up my path for all seven terrible years.”
M. Tsvetaeva has nothing like this. Her lyrical heroine is extremely memoryless, the feeling of love never lives in the past for her, she does not reach out to him with memories:
I already need you No need,
Darling - and not because
I didn’t write with the first mail.
And not because these
Lines written with sadness
You'll figure it out laughing.

No, buddy! - It is easier,
This is worse than annoyance:
I already need you No need -
Because - because
I already need you No need.

Instead of memory in M. Tsvetaeva’s love lyrics there is indifference, like an instant and forever disappointment in a loved one. In the poems of A. Akhmatova we will find everything: the premonition of love, and its origin, and development, and the memory of it. In the poems of M. Tsvetaeva, love is expressed at first sight and until the first disappointment. And in life M. Tsvetaeva said: “I always start with love and end with acquaintance.”
In Akhmatova's work, the theme of love is often intertwined with a civic theme - the theme of a country that she did not abandon. Akhmatova’s lyrical heroine can throw to her beloved:
We don't have a meeting. We are in different countries,
Is that where you call me, you impudent one?
Where the brother drooped in bloody wounds,
Having received an angelic crown?
(156)
Once A. Akhmatova said about B. Anrep and herself: “It’s good that you didn’t take me with you: I would have returned... an aged Parisian.” In the lyrics of M. Tsvetaeva, and in her destiny, there are simply no such boundaries for love. “And there is no such pit, and no such abyss,” where she would not want to be next to her beloved:
On an ice floe - Beloved, On a mine - Beloved,
On an ice floe, in Guiana, in Gehenna - my favorite!
(340)
We will not judge which love is higher: the “happiest” (and at the same time bitter) love for the Motherland of A. Akhmatova or the female supranational love of the lyrical heroine M. Tsvetaeva, since both of them are equally beyond the jurisdiction. It’s better to briefly summarize the comparison. They are like that. A. Akhmatova's love lyrics are infinitely varied and psychologically bottomless. In the love lyrics of M. Tsvetaeva there is more “high illness”, the element of feeling, female dedication. We can say that in A. Akhmatova’s love lyrics in general there is more psychological maturity, experience; in the love lyrics of M. Tsvetaeva there is more eternal youth. Maybe even this: in the love lyrics of A. Akhmatova there is more of the feminine, attracting the masculine, and in the love lyrics of M. Tsvetaeva there is more of the eternally feminine, calling to spiritual heights in love. In their love lyrics there is consonance and dissonance, since it exists in the souls of different women: those who love their lyrics; and those who, perhaps, are not even familiar with her.