Analysis of the poem “You are coming, you look like me” by Tsvetaeva. Analysis of Tsvetaeva’s poem “You look like me”: a brief description of the work You look like me Year of writing

This poem by Tsvetaeva is one of the most famous. She wrote it in 1913. The poem is addressed to a distant descendant - a passerby who is young, just like she was in her 20s. There are quite a lot of works about death in Tsvetaeva’s poetry. So it is in this. The poetess wants to contact the future.

In this poem she represents the time when she had already died. She pictures a cemetery in her imagination. But it is not gloomy, as we are used to seeing it. There are flowers and delicious strawberries. At the cemetery we see a passerby. Marina wants passers-by to feel at ease while walking through the cemetery. She also wants him to notice her, to think about her. After all, she was the same as he “was.”

I enjoyed life and laughed. But Tsvetaeva doesn’t want a passerby to be sad when looking at her grave. Maybe she wanted him not to waste time now.

Perhaps she even wants to watch how she is remembered, because Tsvetaeva believed in life after death. In general, she always had a simple attitude towards death. With humility. She took it for granted and was not afraid of it. This is probably why we see in her poems so often how life and death intersect.

Analysis of the poem - You come, you look like me...

The first two decades of the 20th century, starting in 1901, are called the Silver Age of Russian poetry. During this time, lyrics went through three periods of development: symbolism, acmeism and futurism. There were other literary trends . Some authors did not join any of them, which was quite difficult in that era of the heyday of various poetic “circles” and “schools.” Among them is Marina Ivanovna Tsvetaeva, an original, talented poet with a complex, tragic fate. Her lyrics captivate with their brightness, sincerity, and the strength of the feelings expressed. The poem “You’re coming, you look like me...”, written by Marina Tsvetaeva in Koktebel on May 3, 1913, can rightfully be considered one of the masterpieces of “Silver Age” poetry. In it the author expresses his thoughts about eternity, about life and death. The life of M. Tsvetaeva for five years, starting in 1912, was the happiest in comparison with all previous and subsequent years. In September 1912, Marina Tsvetaeva had a daughter, Ariadna. Tsvetaeva was overwhelmed with the joy of being and at the same time thought about the inevitable end. These seemingly mutually exclusive feelings are reflected in the poem: “You walk, looking like me, with your eyes looking down. I lowered them too! Passerby, stop!” At first glance, there is nothing strange in these lines. The word “lowered” can be interpreted as follows: it happened that she lowered her eyes, but now they are not lowered. But after reading the next stanza, it becomes clear that the meaning of the word “omitted” is different. “... My name was Marina,” writes the poetess. The past tense of the verb is alarming. So they don't call you anymore? So we can only talk about a deceased person, and the following lines confirm this guess. Everything that has already been said is filled with new meaning: it turns out that the once-living poetess is addressing a passerby examining the gravestones and inscriptions carved on them in the cemetery. The consonance “similar - passer-by” is noteworthy. In the poem, these words occupy such positions that they do not form rhymes: one word is at the end of one line, the other at the beginning of another. However, taken by themselves, they rhyme, and their similarity extends beyond what is necessary for rhyme: not only are the stressed syllables the same and those that follow them, but the pre-stressed ones are also consonant. What is the meaning of the juxtaposition of these words? I think that the author wanted to emphasize the following idea: everyone who is overtaken by her voice from underground is like her. She, too, once “was,” like a passer-by now, that is, she lived, enjoying the joy of being. And this is truly worthy of admiration. Marina Tsvetaeva wrote about Alexander Blok: “The amazing thing is not that he died, but that he lived. All of him is such an obvious triumph of the spirit, such a visceral spirit, that it’s surprising how life, in general, allowed it to happen.” These words can also be applied to her. It’s amazing how Marina Ivanovna was able to defend the talent given to her, not give up on it, and preserve her world, unknown and inaccessible to others.

Marina Tsvetaeva does not want to disturb the tranquility of a passerby: “Think about me easily, / Forget about me easily.” And yet one cannot help but feel the author’s sadness because of his own irreversibility to life. Parallel to this tragic feeling, there is another one that can be called pacifying. Man is irrevocable in flesh and blood, but he is involved in eternity, where everything he thought about and felt during his life is imprinted. Researcher A. Akbasheva points out that the work of the “Silver Age” poets coincided with the development of Russian philosophy, lying between the teachings of V. Solovyov and A. Losev. V. Solovyov insisted that “philosophical thought has no right to refuse to comprehend the connections of man with the insubstantial world, inaccessible to direct observation and strict research, the supersensible.” A. Losev developed the doctrine of existence as eternal becoming. Thus, we can say that M. Tsvetaeva’s poem “You’re coming, you look like me...” is a reflection of the movement from the principles of V. Solovyov to the teachings of A. Losev. Each person is unique, each, according to Tsvetaeva, participates in the development of the world as an individual.

V. Rozhdestvensky notes that the poem “You’re coming, you look like me...” is distinguished by conciseness of thought and energy of feelings. I think this is precisely what the active use of punctuation marks to help one grasp the meaning entails. “Invincible rhythms” (A. Bely) by Tsvetaeva is fascinating. The syntax and rhythm of her poems are complex. You immediately notice the poet’s passion for the dash. Today this prepin sign
Ania replaces both the comma and the colon. It’s amazing how M. Tsvetaeva was able to sense the capabilities of the dash almost a century ago! The dash is a “strong” sign that cannot be ignored. It helps to mint the words: “I omitted them too!”, “Read - chicken blindness.” Probably, the paucity of epithets used in the poem stems from the conciseness of thought and the energy of feelings: “wild stem”, “cemetery strawberry”. M. Tsvetaeva uses the only metaphor - “in gold dust”. But repetitions are widely represented: “... that here is a grave”, “That I will appear, threatening...”, anaphoras: “And the blood rushed to the skin”, “And my curls curled...”. All this, like the alliteration on the sound “s,” invites thought and reasoning.

The idea of the poem, in my opinion, can be defined as follows: a person knows that death is inevitable, but he is also aware of his involvement in eternity. The idea of doom in the mind of M. Tsvetaeva does not look depressing. You need to live, fully enjoying today, but at the same time do not forget about eternal, enduring values - this is the call of the poet.

Marina Tsvetaeva is rightfully considered one of the brightest and most original Russian poets of the first half of the 20th century. Her name is inextricably linked with such a concept as the female worldview in literature, imaginative, subtle, romantic and unpredictable.

Marina Tsvetaeva tried to imagine what her final resting place would be. In her mind, this is an old cemetery where the most delicious and juicy strawberries in the world grow, as well as the wildflowers that the poetess loved so much. Her work is addressed to descendants, or more precisely, to an unknown person who wanders among the graves, peering with curiosity at the half-erased inscriptions on the monuments. Marina Tsvetaeva, who believed in the afterlife, assumes that she will be able to watch this uninvited guest and sadly envy the fact that he, like herself once, walks along the old cemetery alleys, enjoying the peace and quiet of this amazing place, covered in myths and legends.

“Don’t think that there is a grave here, that I will appear threatening,” the poetess addresses the unknown interlocutor, as if urging him to feel free and at ease in the graveyard. After all, her guest is alive, so he must enjoy every minute of his stay on earth, receiving joy and pleasure from it. “I loved it too much, laughing when you shouldn’t,” Tsvetaeva notes, emphasizing that she never recognized conventions and preferred to live as her heart told her. At the same time, the poetess speaks about herself exclusively in the past tense, claiming that she, too, “was” and experienced a wide variety of feelings, ranging from love to hatred. She was alive!

Philosophical questions of life and death have never been alien to Marina Tsvetaeva. She believed that life should be lived in such a way that it was bright and rich. And death is not a reason for sadness, because a person does not disappear, but only passes into another world, which remains a mystery to those who are alive. Therefore, the poetess asks her guest: “But just don’t stand gloomily with your head hanging on your chest.” In her concept, death is as natural and inevitable as life itself. And if a person leaves, then this is quite natural. Therefore, one should not indulge in sadness. After all, those who died will live as long as someone remembers them. And this, according to Tsvetaeva, is much more important than any other aspects of human existence.

Ironizing herself, the poetess turns to the stranger with the words “And don’t let my voice from underground confuse you.” This short phrase contains a slight regret that life is not endless, admiration for the future generation, and humility before the inevitability of death. However, in the poem “You go, you look like me..” there is not a single hint of fear that life will end sooner or later. On the contrary, this work is filled with light and joy, lightness and inexplicable charm.

This is exactly how Marina Tsvetaeva treated death with ease and grace. Apparently, this is why she was able to decide to die on her own after she considered that no one needed her work. And the suicide of the poetess in Yelabuga, which is an act of good will, can be regarded as liberation from the unbearable burden that is life, and finding eternal peace in the other world, where there is no cruelty, betrayal and indifference.

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Analysis of Tsvetaeva’s poem “You’re coming, you look like me”

M. Tsvetaeva is one of the most extraordinary and original poetesses of the 20th century. Her works are directly related to such concepts as women's perception of the world, romance, unpredictability, subtlety; they are filled with images familiar to every woman.
The poem was written by the poetess back in 1913.

The main theme of the poem

As an author, she was never far from critical issues, which troubled the minds of all great philosophers at all times, about the meaning human life and about the essence of death itself. Tsvetaeva was sure that life should be imbued with sensual, vivid emotions. For her, death was not considered a reason to be sad, because it is only a transition into a mysterious world, and of which no one knows anything until now. The poetess asks her uninvited guest not to be sad, to perceive death the same way she treats it - as a natural and inevitable process. Those who have already died will always live in the hearts of those who remember them. Therefore, memory for Tsvetaeva is more important than all other aspects of her life.

Structural analysis of the poem

It has an original form and content, since it is a monologue-address of a poetess who has already died. In such an unusual way, Tsvetaeva tried to imagine her final refuge. The ancient cemetery, which is mentioned in the work we are considering, wild flowers and wild berries - that’s how she saw it.

In her work, she addresses descendants, or more precisely, a completely unknown person wandering through this old cemetery and looking at the tombstones.

It is worth noting that M. Tsvetaeva herself believed in an afterlife. She supposed that she could also observe this young man who had become a guest in her refuge. She is trying to convey to him and to the readers that you need to cherish every moment of your life, to be able to enjoy it, no matter what.

She ironically addresses herself to a stranger, admires the new generation, having come to terms with death, and asks him not to be afraid of her. There is not a single hint of fear of death in the poem at all. The work is bright, despite the sad theme, it is easy to read, filled with happiness, joyful mood and charming images.

Conclusion

Effortlessly and gracefully, Tsvetaeva expressed her individual attitude towards death. Most likely, it was precisely such thoughts that gave her the opportunity to decide one day to leave this life of her own free will, when she considered that no one needed her poems. The poetess's suicide is regarded by critics as an escape from a burden that was unbearable for her, a desire to find peace and escape into a world where there is no betrayal, betrayal, indifference and inhuman cruelty.

“You’re coming, you look like me...” Marina Tsvetaeva

You're coming, looking like me,
Eyes looking down.
I lowered them too!
Passerby, stop!

Read - night blindness
And picking a bouquet of poppies, -
That my name was Marina
And how old was I?

Don't think that this is a grave,
That I will appear, threatening...
I loved myself too much
Laugh when you shouldn't!

And the blood rushed to the skin,
And my curls curled...
I was there too, a passerby!
Passerby, stop!

Pluck yourself a wild stem
And a berry after him, -
Cemetery strawberries
It doesn't get any bigger or sweeter.

But just don't stand there sullenly,
He lowered his head onto his chest.
Think about me easily
It's easy to forget about me.

How the beam illuminates you!
You're covered in gold dust...
- And don’t let it bother you
My voice is from underground.

One of Marina Tsvetaeva’s most famous works is the poem “You’re coming, you look like me...”, written in 1913. It is original both in form and content, since it is a monologue of a deceased poetess. Mentally moving forward several decades, Marina Tsvetaeva tried to imagine what her final resting place would be. In her mind, this is an old cemetery where the most delicious and juicy strawberries in the world grow, as well as the wildflowers that the poetess loved so much. Her work is addressed to descendants, or more precisely, to an unknown person who wanders among the graves, peering with curiosity at the half-erased inscriptions on the monuments. Marina Tsvetaeva, who believed in the afterlife, assumes that she will be able to watch this uninvited guest and sadly envy the fact that he, like herself once, walks along the old cemetery alleys, enjoying the peace and quiet of this amazing place, surrounded by myths and legends.

This is exactly how Marina Tsvetaeva treated death with ease and grace. Apparently, this is why she was able to decide to die on her own after she considered that no one needed her work. And the suicide of the poetess in Yelabuga, which is an act of good will, can be regarded as liberation from the unbearable burden that is life, and finding eternal peace in the other world, where there is no cruelty, betrayal and indifference.