Marina Tsvetaeva Quotes

There are books so alive that you're always afraid that while you weren't reading, the book has gone and changed, has shifted like a river.

And soon all of us will sleep under the earth, we who never let each other sleep above it.

I’m kissing you now — across The gap of a thousand years.

There are books so alive that you're always afraid that while you weren't reading, the book has gone and changed, has shifted like a river; while you went on living, it went on living too, and like a river moved on and moved away. No one has stepped twice into the same river. But did anyone ever step twice into the same book?

Wings are freedom only when they are wide open in flight. On one's back they are a heavy weight.

However much you feed a wolf, it always looks to the forest. We are all wolves of the dense forest of Eternity.

Somewhere in the night a human being is drowning.

At the skin, my blood calls out to your heart, my whole sky craves an island of tenderness. My rivers tilt towards you.

Don't you know no one can escape the power of creatures reaching out with breath alone?

One should write only those books from whose absence one suffers. In short: the ones you want on your own desk.

For the spell is older than experience. For the tale is older than the record.

Who sleeps at night? No one is sleeping.
 In the cradle a child is screaming.
 An old man sits over his death, and anyone
 young enough talks to his love, breathes 
into her lips, looks into her eyes.

What is this gypsy passion for separation, this readiness to rush off when we've just met? My head rests in my hands as I realize, looking into the night that no one turning over our letters has yet understood how completely and how deeply faithless we are, which is to say: how true we are to ourselves.

I’ll rise up as a poem…

It's an abominable fallacy that suffering makes for greater art. Suffering blinds, deafens, ruins, and often kills. Osip Mandelstam was a great poet before the revolution. So was Anna Akhmatova, so was Marina Tsvetaeva. They would have become what they became even if none of the historical events that befell Russia in this century had taken place: because they were gifted. Basically, talent doesn't need history.

Meanings are translatable. Words are untranslatable… More briefly – a word is translatable, its sound is not.

No one has ever stepped twice into the same river. But did anyone ever step twice into the same book?

Life is a railroad station; soon I will set out - for where? I will not say.

I have two enemies in all the world, Two twins, inseparably fused: The hunger of the hungry and the fullness of the full.

I opened my veins. Unstoppably life spurts out with no remedy. Now I set out bowls and plates. Every bowl will be shallow. Every plate will be small. And overflowing their rims, into the black earth, to nourish the rushes unstoppably without cure, gushes poetry ...

The one that burned the hottest is the first to die.

In you, I see the heroines of Shakespeare’s tragedies. You, unhappy lady, were never saved by anybody.

My favorite means of communication is otherworldly: dreams—meeting in dreams.

What shall I do, singer and first-born, in a world where the deepest black is grey, and inspiration is kept in a thermos? with all this immensity in a measured world?

The eclipses of poets are not foretold in the calendar.

Where does such tenderness come from And what do I do with it, you, sly, Adolescent, vagabond singer, Whose lashes couldn’t be longer?

Previously, everything that I love was called -- I, now it's -- You. But it's the same thing.

(Everyday life is like a sack: with holes. And you carry it anyway.)

After a night of insomnia the body gets weaker, Becomes dear but no one’s — not even your own.

How quiet the writing, how noisy the printing.

I want to sleep with you, fall asleep and sleep. That magnificent folk word, how deep, how true, how unequivocal, how exactly what it says. Just – sleep. And nothing more. No, another thing: and know right into the deepest sleep that it is you. And more: how your heart sounds. And – kiss your heart.

for the path of comets/ is the path of poets: they burn without warming,/ pick without cultivating. They are: an explosion, a breaking in

I am only a shell where the ocean is still sounding.

I so often remain silent. I am like a wolf in his den hiding my grief, it’s hard on people.

I know wherever you are, there are poems.

I kissed you! I witched you! I laugh at the afterlife’s dark.

And I’m starving – in the literal sense. Idiots think hunger – is the body. No, hunger – is the soul, the whole weight of it falls directly on the soul.

I'll cry about this earth in heaven too.

I have two foes in the world, twins inextricably interrelated -- the hunger of the hungry and the glut of the glutted!

For my country has taken so little care of me that even the sharpest spy could go over my whole spirit and would detect no native stain there.

What is the main thing in love? To know and to hide. To know about the one you love and to hide that you love. At times the hiding (shame) overpowers the knowing (passion). The passion for the hidden—the passion for the revealed.

Your name is a -- bird in my hand a piece of -- ice on the tongue one single movement of the lips. Your name is: five signs, a ball caught in flight, a silver bell in the mouth a stone, cast in a quiet pool makes the splash of your name, and the sound is in the clatter of night hooves, loud as a thunderclap or it speaks straight into my forehead, shrill as the click of a cocked gun. Your name -- how impossible, it is a kiss in the eyes on motionless eyelashes, chill and sweet. Your name is a kiss of snow a gulp of icy spring water, blue as a dove. About your name is: sleep.

I do not speak. I smoke. Throat tight, as if fingers are squeezing it.

After a sleepless night the body gets weaker, It becomes dear and not yours - and nobody's. Just like a seraph you smile to people And arrows moan in the slow arteries. After a sleepless night the arms get weaker And deeply equal to you are the friend and foe. Smells like Florence in the frost, and in each Sudden sound is the whole rainbow. Tenderly light the lips, and the shadow's golden Near the sunken eyes. Here the night has sparked This brilliant likeness - and from the dark night Only just one thing - the eyes - are growing dark.

What am I here for? To listen to my soul.

This is where I live. —I wonder if you still love me?

For the way of the comets is the poet's way.

Black as--the centre of an eye, the centre, a blackness that sucks at light. I love your vigilance Night, first mother of songs, give me the voice to sing of you in those fingers lies the bridle of the four winds. Crying out, offering words of homage to you, I am only a shell where the ocean is still sounding. But I have looked too long into human eyes. Reduce me now to ashes--Night, like a black sun.

Beating soul and breathing blood.

And tears are water, blood is water, a woman always washes in blood and tears. Love is a step-mother, and no mother: then expect no justice or mercy from her.

Perhaps we may meet each other in a dream.

Fall asleep then. Sleep. And vanish.

Where does such tenderness come from? These curls that I stroke with my hand Aren't the first that I've stroked, and I Knew lips that were darker than yours.

I just want a humble, murderously simple thing: that a person be glad when I walk into the room.

I - am. You - will be. An abyss between us. I drink. You thirst. In vain we try to agree. Ten years between us, a hundred thousand Years between us. - God builds no bridges. Be! - that's my commandment! Let me pass So that my breath doesn't hinder your growth. I - am. You - will be. Some ten springs from now, You'll say : - I am! - and I will say : - once was...

Tonight - I am alone in the night, a homeless and sleepless nun! Tonight I hold all the keys to this the only capital city and lack of sleep guides me on my path. You are so lovely, my dusky Kremlin! Tonight I put my lips to the breast of the whole round and warring earth. Now I feel hair - like fur - standing on end: the stifling winds blow straight into my soul. Tonight I feel compassion for everyone, those who are pitied, along with those who are kissed.

I will win you away from every earth, from every sky, For the woods are my place of birth, and the place to die, For while standing on earth I touch it with but one foot, For I'll sing your worth as nobody could or would.

Where does such tenderness come from?” Where does such tenderness come from? These aren’t the first curls I’ve wound around my finger— I’ve kissed lips darker than yours. The sky is washed and dark (Where does such tenderness come from?) Other eyes have known and shifted away from my eyes. But I’ve never heard words like this in the night (Where does such tenderness come from?) with my head on your chest, rest. Where does this tenderness come from? And what will I do with it? Young stranger, poet, wandering through town, you and your eyelashes—longer than anyone’s.

A deep sigh — an interview with a knife.

if you wish to serve God or man, if in general you wish to serve, to work for the good, then join the Salvation Army or something of that sort – and give up poetry.

From early on, we loved the broken-hearted, And knew that home-life wasn't made for us.

An Attempt at Jealousy" How is your life with an ordinary woman? without the god inside her? The queen supplanted— How do you breathe now? Flinch, waking up? What do you do, poor man? How’s your life with a tourist on Earth? Her rib (do you love her?) is it to your liking? How do you live with cheap goods: is the market rising? How’s kissing plaster-dust? Are you bored with her new body? How’s it going, with an earthly woman, with no sixth sense? Are you happy? No? In a shallow pit—how is your life, my beloved? Hard as mine with another man?

In prose too much seems superfluous to me, in poetry (genuine) everything is necessary. Given my attraction to asceticism of the prosaic word, I could end up with a skeleton. In poetry- there's a certain innate measure of flesh: less is impossible.

The complete concurrence of souls requires the concurrence of the breath, for what is the breath, if not the rhythm of the soul? And thus, in order for people to understand one another, they must walk or lie side by side.

My soul - born in a nameless place

Ten years between us, a hundred thousand Years between us - God builds no bridges

I am your seventh Day, your longed-for Sunday's rest, Your passion and your seventh heaven

It's a grave but don't treat it as such, My spirit won't rise to haunt you... I, myself, loved laughing too much Whenever I wasn't supposed to!

I understood that with our moans, we raise The long deceased from underneath the ground

How is your life with that other one? Simpler, is it? A stroke of the oars and a long coastline— and the memory of me is soon a drifting island (not in the ocean—in the sky!) — Marina Tsvetaeva, from “An Attempt at Jealousy,” transl. Ilya Kkaminsky and Jean Valentine, Poetry (March 2021)

The forbidden cabinet. The forbidden fruit. That fruit is—a volume, a huge blue-lilac volume with a gold inscription slantwise: Collected Works of A.S. Pushkin. I read the fat Pushkin in the cabinet with my nose in the book and on the shelf, almost in darkness and almost right up against it and even a little bit suffocated by his weight that came right into the throat, and almost blinded by the nearness of the tiny letters. I read Pushkin right into the chest and right into the brain.

- Why are your poems so different from one another? - Because the years are different.

Amidst the dust of bookshops, wide dispersed And never purchased there by anyone, Yet similar to precious wines, my verse can wait Its time will come.

Chaque chose doit resplendir à son heure, et cette heure est celle où des yeux véritables la regardent.

My love for you was parceled out in days and letters, hours and lines. Hence the unrest.

Whistle out your boyish pain, your heart squeezed in your hand. My indifferent and crazy creature— now set free—goodbye!

Per quanto mi riguarda, ho sempre voluto e addirittura preteso di essere amata come sono — per ciò che sono — perché sono. Non per ciò che, secondo voi, potrei, dovrei, avrei dovuto essere.

And I will not call you by your name, And I will not reach out towards you. Only to our waxy holy countenance I will bow from faraway.

Вот опять окно, Где опять не спят. Может — пьют вино, Может — так сидят Или просто — рук Не разнимут двое. В каждом доме, друг, Есть окно такое.

From early on we loved the broken-hearted And knew that home-life wasn’t made for us. One dismal day our ship had left the harbor And now it’s freely tossed by every gust.

To be like a stem and steel, in this life where we can so little. To treat sorrow by chocolate and laugh to the stranger’s face.

she shut herself up in her room and wrote poetry. This started at a very early age, and it tended to isolate her quite considerably from the rest of the family.

Old men, old men, old men. Medals, medals, medals. Not a brow without a furrow, not a breast without a star. My brother and husband are uniquely-young here. The grouping of young Grand Dukes doesn't count because a grouping is just what they are: a marble bas-relief. Today the whole old-age of Russia seems to have flowed into this place in homage to the eternal youth of Greece. A living lesson of history and philosophy: this is what time does with people, this is what it does--with gods. This is what time does with a man, this is what (a glance at the statues) art does. And, the last lesson: this is what time does with a man; this is what a man does with time. But because of my youth I don't think about that, I feel only a cold shudder. ("The Opening of the Museum")

There are books so alive that you're always afraid that while you weren't reading, the book has gone and changed, has shifted like a river; while you went on living, it went on living too, and like a river moved on and moved away. No one has stepped twice into the same river. But did anyone ever step twice into the same book?

A shoe's material - leather - is calculable and finite. work of art's material (not sound, not word, not stone, not canvas, but spirit) is incalculable and infinite. There are no shoes once for always. Every last line of Sappho is once for always. This is why (calculability of material) boots held by the bootmaker are in better hands than are poems in the hand of the critic. There are no misunderstood boots, but how many misunderstood poems!

A poet's marriage to his time is a forced marriage. A marriage of which - as of any suffered violence - he is ashamed, and from which he tries to tear loose. Poets of the past tear into the past, those of the present into the future, as if time were less time for not being my own! All Soviet poetry is a stake on the future. Solely Mayakovsky, this zealot of his own conscience, this convict of the present day, came to love this present day; overcame, that is, the poet in himself.

Teasing and tempting and playing We loved like children, us both But somebody, hiding a smile, Set up the ungentle nets - And here we are at the harbor, Not seeing the wished-for abodes, But knowing that I will be yours In the heart, without words, until death. You told me of all things - so early! I guessed them so late! In our hearts A wound is eternal, a silent Question exists in our eyes, The desert on earth is so endless, The heaven, so high, has no stars, Revealed is the tender secret, And frost rules for centuries. I will talk to shades! O my dear, To forget you I do not have might, Your visage can't move under shadow Of eyelids gone over my eyes... It's darkening... Shutters have closed, On all things descending is night... I love you, one ghostly-eternal, And only you - and always!

...А главное, я всегда целую - первая, так же просто, как жму руку, только - неудержимее. Просто никак не могу дождаться! Потом, каждый раз: "Ну, кто тебя тянул? Сама виновата!" Я ведь знаю, что это никому не нравится, что все они любят кланяться, кянчить, искать случая, добиваться, охотиться... А главное - я терпеть не могу, когда другой целует - первый. Так по крайней мере знаю, что я этого хочу.

Гришка-Вор тебя не ополячил, Петр-Царь тебя не онемечил. Что же делаешь, голубка? — Плачу. Где же спесь твоя, Москва? — Далече. — Голубочки где твои? — Нет корму. — Кто унес его? — Да ворон черный. — Где кресты твои святые? — Сбиты. — Где сыны твои, Москва? — Убиты. 10 декабря 1917 Felon Grishka could not polonize you, and Tsar Peter could not germanize you. What are you about, my fairest? - Weeping. Moscow, where's that ancient pride? - Far sleeping. - Where are all your doves? - No food to save them. - Who made off with it? - The coal-black raven. - And your holy crosses? - Ripped asunder. - Moscow, and your sons? - Slain in their hundreds.

Это просто, как кровь и пот: Царь — народу, царю — народ. Это ясно, как тайна двух: Двое рядом, а третий — Дух. Царь с небес на престол взведён: Это чисто, как снег и сон. Царь опять на престол взойдёт — Это свято, как кровь и пот. 7 мая 1918, 3-ий день Пасхи (а оставалось ему жить меньше трёх месяцев!) It is simple, as blood and sweat: Tsar and people - in destiny wed. It is clear, as a secret shared Between two, an the Spirit- the third. Heaven summoned the tsar to his throne: It is spotless, as sleep as snow. And the tsar shall regain his throne yet: It is sacred, as blood and sweat. 24th April 1918 3rd day of Easter (and he had - less than three months to live!)

Кто уцелел — умрёт, кто мёртв — воспрянет. И вот потомки, вспомнив старину: — Где были вы? — Вопрос как громом грянет, Ответ как громом грянет: — На Дону! — Что делали? — Да принимали муки, Потом устали и легли на сон. И в словаре задумчивые внуки За словом: «долг» напишут слово: «Дон». 30 марта 1918 Those spared - will die, those fallen - rise from under. Then come the sons, remembering days far gone: - And where were you? - the words will roll like thunder, The answer roll like thunder: - On the Don! - What did you do? - We bore with grief and cruelty, Then laid us down to sleep, our last strength gone. And in the dictionary, over Duty, The grandsons, looking back, will write: the Don.

У меня в Москве — купола горят! У меня в Москве — колокола звонят! И гробницы в ряд у меня стоят, — В них царицы спят, и цари. И не знаешь ты, что зарёй в Кремле Легче дышится — чем на всей земле! И не знаешь ты, что зарёй в Кремле Я молюсь тебе — до зари! И проходишь ты над своей Невой О ту пору, как над рекой-Москвой Я стою с опущенной головой, И слипаются фонари. Всей бессонницей я тебя люблю, Всей бессонницей я тебе внемлю — О ту пору, как по всему Кремлю Просыпаются звонари… Но моя река — да с твоей рекой, Но моя рука — да с твоей рукой Не сойдутся, Радость моя, доколь Не догонит заря — зари. 7 мая 1916 At home in Moscow - where the domes are burning, at home in Moscow - in the sound of bells, where I live the tombs - in their rows are standing and in them Tsaritsas - are asleep and tsars. And you don't know how - at dawn the Kremlin is the easiest place to - breathe in the whole wide earth and you don't know when - dawn reaches the Kremlin I pray to you until - the next day comes and I go with you - by your river Neva even while beside - the Moscow river I am standing here - with my head lowered and the line of street lights - sticks fast together. With my insomnia - I love you wholly. With my insomnia - I listen for you, just at the hour throughout - the Kremlin, men who ring the bells - begin to waken, Still my river - and your river still my hand - and your hand will never join, or not until one dawn catches up another dawning.

За Отрока — за Голубя — за Сына, За царевича младого Алексия Помолись, церковная Россия! Очи ангельские вытри, Вспомяни, как пал на плиты Голубь углицкий — Димитрий. Ласковая ты, Россия, матерь! Ах, ужели у тебя не хватит На него — любовной благодати? Грех отцовский не карай на сыне. Сохрани, крестьянская Россия, Царскосельского ягнёнка — Алексия! 4 апреля 1917, третий день Пасхи Pray for the Son - the Dove - the Adolescent, For the young Tsarevich, for the young Alexis - Russia, pray, who the true faith confessest! Wipe those angel eyes now, ponder deeply Him that fell upon the stones - think meetly On the dove of Uglich, on Dimitri. Gentle mother, Russia, kind, caressing! Is thy heart so hard as not to grace him With thy loving-kindness, with thy blessing? Visit not upon the son the father's trespass. Russia of the country folk - be his protectress: Spare the lamb of Tsarskoye Selo, Alexis! 4 April 1917 Third day of Easter

Дорожкою простонародною, Смиренною, богоугодною, Идём — свободные, немодные, Душой и телом — благородные. Сбылися древние пророчества: Где вы — Величества? Высочества? Мать с дочерью идём — две странницы. Чернь чёрная навстречу чванится. Быть может — вздох от нас останется, А может — Бог на нас оглянется… Пусть будет — как Ему захочется: Мы не Величества, Высочества. Так, скромные, богоугодные, Душой и телом — благородные, Дорожкою простонародною — Так, доченька, к себе на родину: В страну Мечты и Одиночества — Где мы — Величества, Высочества. 1919 The path of plain folk, of simplicity, we tread, God-fearing, with humility - outmoded garb, we guard our liberty, in mind and body - pure nobility. Thus spake the prophets, of proud dynasties: Where are ye - Majesties? and Highnesses? So, mother, daughter - two lone wanderers. The churlish mob surge, chiding, on at us. Maybe - some breath will yet remain of us, And maybe - God look back again on us... His will be done, the Lord of Righteousness: we are no Majesties, no Highnesses. Let us, God-fearing, with humility, In mind and body - pure nobility, turn homeward, daughter - tread submissively the path of plain folk, of simplicity: Back to the land of Dreams and Loneliness - where we - are Majesties, and Highnesses.

Белая гвардия, путь твой высок: Черному дулу — грудь и висок. Божье да белое твое дело: Белое тело твое — в песок. Не лебедей это в небе стая: Белогвардейская рать святая Белым видением тает, тает… Старого мира — последний сон: Молодость — Доблесть — Вандея — Дон. 24 марта 1918 White Guard, your path is set noble and high: Black muzzles - your breast and temple defy. Godly and white is the cause you fight for: White is your body - in sands to lie. That is no flock of swans in the sky there: Saintly the White Guard host sails by there, White, as a vision, to fade and die there... One last glimpse of a world that's gone: Manliness - Daring - Vendée - Don.

Надобно смело признаться, Лира! Мы тяготели к великим мира: Мачтам, знаменам, церквам, царям, Бардам, героям, орлам и старцам, Так, присягнувши на верность — царствам, Не доверяют Шатра — ветрам. Знаешь царя — так псаря не жалуй! Верность как якорем нас держала: Верность величью — вине — беде, Верность великой вине венчанной! Так, присягнувши на верность — Хану, Не присягают его орде. Ветреный век мы застали, Лира! Ветер в клоки изодрав мундиры, Треплет последний лоскут Шатра… Новые толпы — иные флаги! Мы ж остаемся верны присяге, Ибо дурные вожди — ветра. 14 августа 1918 Better, my Lyre, to confess it freely! It was the great ever stirred our feelings: masts, battle ensigns, churches, and kings, bards, epic heroes, eagles, and elders. Those that are pledged to the realm, like soldiers, do not confide their Tent - to the winds. You know the Tsar - do not toy with the hunter! Loyalty has held us, firm as an anchor: loyalty to greatness - to guilt - to grief, to the great crowned guilt - loyalty unswerving! Those that are pledged to the Khan will serve him - their oath is not to the horde, but its chief. We struck a fickle age, Lyre, that scatters all to the winds! Uniforms ripped to tatters, and the last shreds of the Tent worn thin... New crowds collecting - other flags waving! But we still stand by our word - unwavering, for they are devious captains - the winds.

Посвящаю эти строки Тем, кто мне устроит гроб. Приоткроют мой высокий, Ненавистный лоб. Измененная без нужды, С венчиком на лбу,- Собственному сердцу чуждой Буду я в гробу. Не увидят на лице: "Все мне слышно! Все мне видно! Мне в гробу еще обидно Быть как все". :::::::::::::::::::::::::::::::: Идешь, на меня похожий, Глаза устремляя вниз. Я их опускала – тоже! Прохожий, остановись! [...] Не думай, что здесь – могила, Что я появлюсь, грозя... Я слишком сама любила Смеяться, когда нельзя! И кровь приливала к коже, И кудри мои вились... Я тоже была, прохожий! Прохожий, остановись! [...] Но только не стой угрюмо, Главу опустив на грудь. Легко обо мне подумай, Легко обо мне забудь. Как луч тебя освещает! Ты весь в золотой пыли... - И пусть тебя не смущает Мой голос из-под земли.

Мне нравится, что Вы больны не мной, Мне нравится, что я больна не Вами, Что никогда тяжелый шар земной Не уплывет под нашими ногами. Мне нравится, что можно быть смешной, Распущенной — и не играть словами, И не краснеть удушливой волной, Слегка соприкоснувшись рукавами. Мне нравится еще, что Вы при мне Спокойно обнимаете другую, Не прочите мне в адовом огне Гореть за то, что я не Вас целую. Что имя нежное мое, мой нежный, не Упоминаете ни днем, ни ночью — всуе... Что никогда в церковной тишине Не пропоют над нами: аллилуйя! Спасибо Вам и сердцем, и рукой За то, что Вы меня — не зная сами! - Так любите: за мой ночной покой, За редкость встреч закатными часами. За наши не-гулянья под луной, За солнце не у нас над головами, За то, что Вы больны — увы! — не мной, За то, что я больна — увы! — не Вами!

Когда рыжеволосый Самозванец Тебя схватил — ты не согнула плеч. Где спесь твоя, княгинюшка? — Румянец, Красавица? — Разумница, — где речь? Как Пётр-Царь, презрев закон сыновний, Позарился на голову твою — Боярыней Морозовой на дровнях Ты отвечала Русскому Царю. Не позабыли огненного пойла Буонапарта хладные уста. Не в первый раз в твоих соборах — стойла. Всё вынесут кремлёвские бока. 9 декабря 1917 When the red-haired impostor, fell Dmitri, laid hold of you, you did not bow the knee. Where is your pride, my princess? - Where, my beauty? The rosy cheeks? the voice once wise and free? And when Tsar Peter, coveting your beauty, made to ride roughshod over filial law - Morozova showed you the path of duty: she was your answer to the Russian Tsar. And Bonaparte's cold lips cannot forget still The fiery draught you set before him then. Once more now your cathedrals serve for stables. The Kremlin's flanks will soldier to the end.

Коли в землю солдаты всадили — штык, Коли красною тряпкой затмили — Лик*, Коли Бог под ударами — глух и нем, Коль на Пасху народ не пустили в Кремль — Надо бражникам старым засесть за холст, Рыбам — петь, бабам — умствовать, птицам — ползть, Конь на всаднике должен скакать верхом, Новорожденных надо поить вином**, Реки — жечь, мертвецов выносить — в окно, Солнце красное в полночь всходить должно, Имя суженой должен забыть жених… Государыням нужно любить — простых***. 3-ий день Пасхи 1918 *Красный флаг, к<отор>ым завесили лик Николая Чудотворца. Продолжение — известно (примеч. М. Цветаевой).↵ **Поили: г<оспо>жу де Жанлис. В Бургундии. Называлось «la miaulée». И жила, кажется, до 90-ста лет. Но был ужасная лицемерка (примеч. М. Цветаевой).↵ ***Любили (примеч. М. Цветаевой).↵ Now that the troops stick their bayonets - in the earth, that they wrap the Saint's Face - in a scarlet cloth, That, in face of these blows, God is - deaf and dumb, That at Easter the Kremlin admits no one - We shall soon see old revellers ply the loom, Fishes - sing, old wives - meditate, birds - creep, soon see the steed mount its rider and race away, see them start feeding wine to the new-born babe, Rivers - burn, windows - open to pass the dead, on the stroke of midnight - the sun rise, blood-red, the fiancé forget his beloved's name... and tsarinas - love commoners once again*. Third day of Easter, 1918 *They did love them (M.S.)