Sacred Rebellion: Literary Dissonance in Tsvetaeva's Work
In the world of literature, few works stir the perennial debate between traditional values and free artistic expression as consistently as those of Tsvetaeva. In the case of her work that has received mixed reactions, this dissonance is particularly evident. The poet, despite her Orthodox upbringing, consciously leaves her personal identity aside, completely surrendering to the flow of creative ideas. This gives believers a sense of a departure from sacred norms and raises questions about the unity of beauty and spirituality.With an energetic style, the author exposes internal contradictions where tradition clashes with an innovative impulse. This is not merely a bold artistic decision but a deliberate challenge to established canons, one that gains special strength precisely due to the poet’s intentional spiritual independence. For some critics, this approach becomes a symbol of renouncing established canons, while for others it is evidence of a complex inner world in which religious upbringing intertwines with the search for a new path in poetry.Thus, Tsvetaeva’s work continues to provoke heated debates, stirring both literature enthusiasts and the faithful. This style, full of energy and contradictions, reminds us that true poetry is capable not only of reflecting but also of transforming our perception of the world, offering us the chance to view spiritual matters from a new, unexpected angle.Why do some believers perceive Tsvetaeva’s work "In the Doomed Folio..." negatively, and what are the grounds for such an attitude? Some believers view Tsvetaeva’s "In the Doomed Folio..." negatively because they see elements in its foundation that overtly contradict traditional religious canons. In particular, it is noted that the poet’s work possesses a "slightly veiled anti-theistic, sinful orientation," which is perceived as a departure from generally accepted Orthodox values and as an example of violating spiritual norms.This view is based on the fact that Tsvetaeva consciously separates some of her works from her own "self," acknowledging in them the influence of an external consciousness, which can be interpreted as spiritual turmoil or even a denial of exalted religious tenets. As noted in one source:"As in the first (childish) version, in Tsvetaeva’s work we can observe a slightly veiled anti-theistic, sinful orientation, which is very characteristic of the work of contactors in general. This is understood even by the poet herself, who, by both origin and upbringing, remained Orthodox, although she stayed quite distant from the Church." (source: link txt)Thus, for some believers, the negative perception is based on the feeling that the work proclaims ideas detached from the spiritual principles and traditions of the Church, thereby calling into question the sacred unity of beauty and God. This perception is further strengthened by the fact that the poet herself demonstrates internal contradiction – on one hand, she remains connected to her religious upbringing, and on the other, she consciously opts for an independent and freely interpreted creative path.