You look like me, a color idea. Analysis of the poem “You’re coming, you look like me” by Tsvetaeva

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, 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 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 and those that follow them the same, 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 admirable. 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 peace of the 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 poet’s call.

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Marina Tsvetaeva is considered one of the most prominent poets in Russian literature. She instilled in readers a certain femininity, imagery, romance, and unpredictability. Her creative works were filled with love and light.

One of Tsvetaeva’s most famous creative works is the poem “You’re coming, you look like me...”. It was written in 1913.

When you first read the poem “You’re coming, you look like me...” it may seem very strange, because it is a monologue by Marina Tsvetaeva, who has already died. The poetess addresses the reader from the other world.

In this poetic work, Tsvetaeva tried to look at the future and imagine her grave. The poetess wanted to end her earthly journey in an old cemetery where the most delicious strawberries grow. She also imagined her favorite wildflowers around.

In her monologue, she addresses a random passerby who, like her once, wanders through the old cemetery, enjoying the silence and peering at the worn signs.

Tsvetaeva turns to a passerby and asks him to feel free and not constrained, because he is still alive and should appreciate every second of life.

Then the poetess says that “she herself loved to laugh when she shouldn’t.” By this she emphasizes the fact that you need to follow the call of your heart and not recognize conventions, that she lived for real, having experienced all the feelings from love to hatred.

The poem “You’re coming, you look like me...” is deeply philosophical, because it reflects Tsvetaeva’s attitude to life and death. The poetess believed that one should live one’s life brightly and richly. Death cannot be a reason for sadness and sadness. A person does not die, he passes into another world. Death, like life, is inevitable. Therefore, there is no need to stand “sullenly, with your head hanging on your chest.” Everything in this world is natural and obeys the laws of nature.

No matter what, the poem “You come, you look like me...” is filled with light and joy. The poetess is a little jealous of the future generation, but at the same time she realizes that life is not endless.

Marina Tsvetaeva committed suicide, having found peace in a world where there is no meanness and betrayal, envy and lies.

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 he is not gloomy, as we are used to seeing him. So there are flowers and the most 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.

The poem “You walk, you look like me” was written by Marina Tsvetaeva back in 1913, but now, after more than a century has passed, these lines in many ways look prophetic, without losing their mysterious mysticism.

In the world of the dead

A superficial analysis reveals a narrative in which someone wanders among the graves and he becomes the object of attention of a mysterious heroine named Marina. She, being in the world of the dead, sees her resemblance to a person and wants to attract his attention:

Passerby, stop!

How did the stranger attract Marina’s attention? Similarity, because he walks with his eyes down, as the heroine loved to do. After the first call to stop, the passer-by stops and an appeal to him begins, something of a confession. Marina urges the passerby not to be afraid to laugh, just as she was not afraid:

I loved myself too much
Laugh when you shouldn't!

Dead man's voice

An exhausted soul rises to communicate, she is tired of loneliness and wants to talk, even if it is an ordinary passerby. Marina wants to get closer through simple advice to taste the cemetery strawberries, because this dialogue is dear to her, this is the cry of a soul chained in chains.

At the end of the conversation (more like a monologue), the heroine tries to save the stranger from sad thoughts in the future, because it’s not every day that someone turns to you at a cemetery:

Think about me easily
It's easy to forget about me.

Life and death

What is unknown below is life above, sprinkled with gold dust as a sign of the divine beginning of existence.

Already in 1913, when Tsvetaeva was full of life and plans, the poetess wrote lines about the afterlife. She, too, was a passerby, looking down, first in Russia, then in Europe, then again and for the last time in Russia.

The poem “You go, you look like me” is an appeal to the living, so that they appreciate this life here and now, not looking down too often and allowing themselves to laugh occasionally even when they cannot.

P.S. Why are cemetery strawberries really the largest and sweetest? Perhaps because she has very attentive owners who want only the best berries to decorate their graves.

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 a passerby too!
Passerby, stop!

“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.

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.

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.

“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.