Natasha's Dance полностью

And there is no Petersburg, no Kremlin in Moscow -Only fields and fields, snow and yet more snow.'²

For Tsvetaeva the mirage of Russia was the fading memory of her dismantled house at Three Ponds Lane. For Nabokov, in his poem 'The Cyclist' (1922), it was the dream of a bike ride to Vyra, his family's country house, which always promised to appear round the next bend - yet never did.¹³ This nostalgic longing for an irretrievable patch of one's own childhood is beautifully evoked by Nabokov in Speak, Memory (1951). To be cut off from the place of one's childhood is to watch one's own past vanish into myth.

Tsvetaeva was the daughter of Ivan Tsvetaev, Professor of Art History at Moscow University and founding director of Moscow's Museum of Fine Arts (today known as the Pushkin Gallery). Like Tatiana in Pushkin's Eugene Onegin, the young poet lived in a world of books. 'I am all manuscript,' Tsvetaeva once said.¹⁴ Pushkin and Napoleon were her first romantic attachments and many of the real people (both men and women) with whom she fell in love were probably no more than projections of her literary ideals. She called these affairs 'amities litteraires' - and the objects of her affections included the poets Blok and Bely, Pasternak and Mandelstam. It was never clear to what degree the passion was in her own mind. Efron was the exception - the single lasting human contact in her tragic life and the one person she could not live without. So desperate was her longing to be needed that for him she was prepared to ruin her own life. They met in 1911 when he was still at school, and she barely out of it, on a summer holiday in the Crimea. Efron was a beautiful young man -slender-faced with enormous eyes - and she cast him as her 'Bonaparte'. The two shared a romantic attachment to the idea of the Revolution (Efron's father had been a terrorist in the revolutionary underground). But when the Revolution finally arrived they both sided with the Whites. Tsvetaeva was repulsed by the crowd mentality, which seemed to her to trample individuals underfoot. When Efron left Moscow to join Denikin's army in south Russia, she portrayed him as her hero in The Camp of Swans (1917-21).

White guards: Gordian knot

Of Russian valour.

White Guards: white mushrooms

Ot the Russian folksong.

31. Sergei Efron and Marina Tsvetaeva, 1911

White Guards: white stars, Not to be crossed from the sky. White Guards: black nails In the ribs of the Antichrist.¹⁵

For the next five years, from 1918 to 1922, the young couple lived apart. Tsvetaeva pledged that, if both of them survived the civil war, she would follow Efron 'like a dog', living wherever he chose to live. While Efron was fighting for Denikin's armies in the south, Tsvetaeva stayed in Moscow. She grew prematurely old in the daily struggle for bread and fuel. Prince Sergei Volkonsky, who became a close friend during those years, recalled her life in the 'unheated house, sometimes without light, a bare apartment… little Alya sleeping behind a screen surrounded by her drawings… no fuel for the wretched stove, the electric light dim… The dark and cold came in from the street as though they owned the place.'¹⁶ The desperate hunt for food exposed Tsvetaeva to the brutalizing effect of the Revolution. It seemed to her

that the common people had lost all sense of human decency and tenderness. Despite her love of Russia, the revelation of this new reality made her think about emigrating. The death of her younger daughter, Irina, in 1920 was a catastrophic shock. 'Mama could never put it out of her mind that children can die of hunger here', her elder daughter, Alya, later wrote.¹⁷ Irina's death intensified Tsvetaeva's need to be with Efron. There was no news of him after the autumn of 1920, when the defeated White armies retreated south through the Crimea and crowded on to ships to flee the Bolsheviks. She said she would kill herself if he was not alive. At last, Efron was located in Constantinople. She left Moscow to join him in Berlin.

Tsvetaeva describes leaving Russia as a kind of death, a parting of the body from the soul, and she was afraid that, separated from the country of her native tongue, she would not be capable of writing poetry. 'Here a broken shoe is unfortunate or heroic', she wrote to Ehrenburg shortly before her departure from Moscow, 'there it's a disgrace. People will take me for a beggar and chase me back where I came from. If that happens I'll hang myself."⁸

The loss of Russia strengthened Tsvetaeva's concern with national themes. During the 1920s she wrote a number of nostalgic poems. The best were collected in After Russia (1928), her last book to be published during her lifetime:

My greetings to the Russian rye,

To fields of corn higher than a woman.¹⁹