Tsvetaeva in a sentence

Tsvetaeva's sister had been arrested before Tsvetaeva's return; although Anastasia survived the Stalin years, the sisters never saw each other again.

After Efron's escape, the police interrogated Tsvetaeva, but she seemed confused by their questions and ended up reading them some French translations of her poetry.

Alya became ill, and Tsvetaeva removed her, but Irina died there of starvation in 1920.

At about this time Tsvetaeva contracted tuberculosis.

During these years, Tsvetaeva maintained a close and intense friendship with the actress Sofia Evgenievna Holliday, for whom she wrote a number of plays.

Growing up in considerable material comfort, Feinstein (1993) pix Tsvetaeva would later come to identify herself with the Polish aristocracy.

In a subsequent letter to the daughter of Marina Tsvetaeva, Pasternak explained that the attack was motivated by the fact that the supernatural elements of the play, which Novy Mir considered, "irrational," had been translated as Goethe had written them.

In Berlin before settling in Paris, Tsvetaeva wrote some of her greatest verse, including Remeslo ( '‘Craft'’, 1923) and Posle Rossii ( After Russia 1928).

J. Marin King translated a great deal of Tsvetaeva's prose into English, compiled in a book called A Captive Spirit.

Last years: Return to the Soviet Union Сenotaph to Tsvetaeva In 1939, she and her son returned to Moscow, unaware of the reception she would receive.

Living in unremitting poverty, unable to afford living accommodation in Prague itself, with Efron studying politics and sociology at the Charles University and living in hostels, Tsvetaeva and Ariadna found rooms in a village outside the city.

Livingstone's translation of Tsvetaeva's "The Ratcatcher" was published as a separate book.

Maria Tsvetaeva had had a love affair before her marriage, from which she never recovered.

On 31 August 1941, while living in Yelabuga (Elabuga), Tsvetaeva hanged herself. citation She left a note for her son Mur: "Forgive me, but to go on would be worse.

The facility was founded by professor Ivan Tsvetaev (father of the poet Marina Tsvetaeva ).

The Rat-Catcher, which is also known as The Pied Piper, is considered by some to be the finest of Tsvetaeva's work.

There, away from the rigid constraints of a bourgeois Muscovite life, Tsvetaeva was able for the first time to run free, climb cliffs, and vent her imagination in childhood games.

There have always been rumours that Tsvetaeva's death was not suicide.

The target of Tsvetaeva's satire is everything petty and petty bourgeois.

Thirdly, the Mileposts collections demonstrate the dramatic quality of Tsvetaeva's work, and her ability to assume the guise of multiple dramatis personae within them.