SHAKESPEARE’S THEME IN THE WORKS OF M. I. TSVETAEVA

Zhatkin Dmitriy Nikolayevich, Doctor of philological sciences, professor, head of sub-department of interpretation and translation science, Penza State Technological University (1a/11 Baydukova lane/Gagarina street, Penza, Russia), Member of the International Academy of Sciences of Pedagogical Education, honoured research worker of higher professional education of the Russian Federation, honoured research worker of science and technology of the Russian Federation, Member of the Union of Writers of Russia, Member of the Union of Journalists of Russia, ivb40@yandex.ru
Kruglova Tatiana Sergeyevna, Doctor of philological sciences, professor, sub-department of interpretation and translation science, Penza State Technological University (1a/11 Baydukova lane/Gagarina street, Penza, Russia), tatjana.sk@mail.ru

821.161.1

Background. In view of M. I. Tsvetaeva’s reconstruction of Shakespeare’s image, the article considers the most interesting aspects of mutual relations between the poetess and A. A. Akhmatova, B. L. Pasternak, M. A. Voloshin, V. E. Mejerhold, N. S. Goncharova, her relatives and friends, that still have not been the object of study. Lots of M. I. Tsvetaeva’s opinions about Shakespeare were caused by the events in the life of theatre of her time (her dialogue with S. E. Gollidei, an actress of the Second studio of Moscow Art Theatre; the assumed performance of “Macbeth” by Y. A. Zavadsky and the attitude of P. G. Antokolsky to this performance), her aspiration to see some difference and internal mutual irreconcilability between the poet and the actor, her reflections about actor’s voice as of a “great tempter” of audience etc.
Materials and methods. The actual material is presented in all its variety and not only well-known works (“Hamlet” poems of 1823 “Ophelia – to Hamlet”, “Ophelia – in protection of Queen”, “The dialogue of Hamlet with his conscience”, “On an appointed date…”, “Along the quays, where gray-haired trees…”) are comprehended, but also the texts from some summary writing-books and notebooks of the poetess, her correspondences which have not drawn much attention up to now. History comparative, typology comparative, biographical methods of investigation were used in the article.
Results. The article for the first time systematizes the facts describing specificity of W. Shakespeare’s image in M. I. Tsvetaeva’s imagination. The significant attention in the article is paid to the original alternative of Shakespearian “Hamlet” poems, which essentially transforms the understanding of images of Hamlet, Ophelia and the Queen. It is also noted that in the given poetic cycle and in other Tsvetaeva’s works both the image of Shakespeare and Shakespeare’s characters arise as a part of personal feelings, experiences and emotions of the poetess.
Conclusions. The A. A. Saakyants’s statements of “M. I. Tsvetaeva’s real Shakespearian nature” and of “Shakespearian storms” in her soul have been proved by the concrete facts.

Shakespeare, poetry, tradition, imagination, the intercultural communications, comparative analyses, reception, reminiscence, lyrical dialogue, continuity.

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