Analysis of Tsvetaeva's poem "You go, you look like me" has essential when studying the work of this poetess, who left a bright mark in Russian literature. In her works, themes of mysticism and philosophy occupy a special place. The author had a heightened perception of life and death, and this topic was reflected in her most famous works. Marina Ivanovna often thought about her death or the loss of people close and familiar to her, so the idea of her own death received a very dramatic and at the same time bright sound in her works.
Introduction
An analysis of Tsvetaeva's poem "You walk, you look like me" should begin by mentioning the date of its writing. It was created in early period her work, when romantic moods prevailed in her worldview. This also affected the content of the verse in question. First, the poetess addresses all those who will live after her death. The collective image of all these people is an unknown passer-by who accidentally passes by her grave.
Marina Ivanovna immediately emphasizes the similarity between herself and this stranger, drawing attention to the fact that she once lived a serene life without thinking about anything. She points out that she, too, once, in thought, lowered her eyes downward and calls on this unknown person to stop at the grave and think about her.
Description of the grave
An analysis of Tsvetaeva's poem "You walk like me" proves the poetess's specific perception of the end of her life path... From the subsequent text, the reader learns that she was alien to the gloomy perception of death. On the contrary, she emphasizes that flowers should grow on her grave - night blindness, stalks of wild grass and strawberries.
Such a picture of the cemetery immediately evokes sad, but bright thoughts about death. The poetess deliberately creates such an image of a cemetery, wanting to emphasize that there is nothing terrible, gloomy or frightening in death. On the contrary, she is very optimistic and encourages an unknown passer-by to treat everything he saw freely and easily - the way she once treated life and her fate.
Conversation with a passerby
An analysis of Tsvetaeva's poem "You Walk Like Me" focuses on the dialogue between the poetess and a stranger. However, it would be more accurate to say that the verse itself is an expanded monologue of the poetess about life about death. The reader learns about the behavior and reaction of the unknown from the short remarks of the poetess, who calls not to be afraid of the grave, death, but, on the contrary, to think about it easily and without sadness. The heroine of the verse immediately takes on a friendly tone, wanting to win over the passer-by.
Judging by the further continuation of the conversation, she succeeds. The stranger stops and reflects on the grave. First of all, Marina Ivanovna encourages him to pick some flowers, eat strawberries and read the inscription about the life of the one that lies in the grave near which he stopped.
Life story
In Tsvetaeva's poem "You walk, you look like me" an important place is occupied by the story of the life of the deceased. The author in just a few phrases draws her fate. According to the author, the deceased woman was cheerful, had a carefree character, and loved to laugh. These character traits are reminiscent of Marina Ivanovna herself. She emphasizes that the deceased woman was a rebel by nature, as she loved to laugh where it was impossible. Therefore, the author also urges the passer-by not to be sad over the grave, as is customary, but to smile and just think something good about the deceased.
The image of the heroine and the passer-by
The main theme of Tsvetaeva's poem "You Walk Like Me" is a discussion of life and death. An important role in the disclosure of this idea is played by the disclosure of the image of the deceased woman, with whom the poetess associates herself. Her appearance remains undisclosed, the reader only learns some details, which nevertheless allow him to understand her better. Marina Ivanovna only mentions the curls, which disobediently poured into her face, as if emphasizing her obstinate and stubborn disposition. In addition, the description of a smile is of particular importance in the work, which gives a light and relaxed tone to the entire verse.
The idea of Tsvetaeva's poem "You walk, you look like me" is revealed closer to the finale. It is in the last quatrain that the author shows his attitude to the memory of descendants. From the concluding part of the verse, it is clear that she does not expect recognition, glory, or honor. She just wants to be remembered sometimes as a woman who easily, freely lived her life. She clearly does not seek to ensure that her name is respected, she likes to have some unknown person commemorate her at her grave. kind word... That is why the image of an unknown passer-by is described in very light colors. The author emphasizes that he is flooded sunlight despite stopping at the grave. So, the poem in question is one of the most famous works of the poetess, in which the theme of mysticism has become defining.
Marina Tsvetaeva is rightfully considered one of the brightest and most distinctive Russian poetesses of the first half of the 20th century. Her name is inextricably linked with such a concept as the female worldview in literature, figurative, subtle, romantic and unpredictable.
One of the most famous works of Marina Tsvetaeva is the poem "You go, like me ...". written in 1913. It is original both in form and in content, as it is a monologue of a deceased poetess. Having mentally transported several decades ahead, Marina Tsvetaeva tried to imagine what her last refuge would be like. In her understanding, this is an old cemetery where the most delicious and juicy strawberries in the world grow, as well as wildflowers, which the poet loved so much. Her work is addressed to descendants, 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 afterlife, supposes that he will be able to watch this intruder and envy with sadness that he, like she herself once did, walks along the old cemetery alleys, enjoying the peace and quiet of this amazing place, covered with myths and legends.
“Do not think that here is the grave, that I will appear threatening,” the poetess turns to the unknown interlocutor, as if urging him to feel free and at ease on the churchyard. After all, her guest is alive, so he must enjoy every minute of his stay on earth, receiving joy and delight from this. “I myself loved too much, to laugh when it’s impossible,” Tsvetaeva notes. emphasizing that she never recognized conventions and preferred to live as her heart tells her. At the same time, the poetess speaks of herself exclusively in the past tense, claiming that she, too, "was" and experienced a variety of feelings, ranging from love to hatred. She was alive!
Philosophical issues of life and death have never been alien Marina Tsvetaeva... She believed that life should be lived so that it was bright and eventful. 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 don't stand gloomily with your head 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 sorrow. 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 aspect of human existence.
Just like that, with ease and grace, Marina Tsvetaeva related to death. Apparently, therefore, she was able to make the decision to leave this life on her own after she felt that no one needed her work. And the suicide of the poetess in Yelabuga, which is an act of goodwill, can be regarded as liberation from the unbearable burden that life is, and the acquisition of eternal peace in the other world, where there is no cruelty, betrayal and indifference.
Of course, every schoolchild knows Tsvetaeva's name. This is a poetess with an incredibly difficult fate, a difficult character, bright lyrics and a whole storm of feelings that permeate the lines of her works. Possessing the slightest bit of good imagination, with her poetry you can be transported to last century, to see her home and her world, her loved ones and her friends, her joys and her suffering, her dreams and disappointments.
Perhaps one of the most famous works of Marina Ivanovna Tsvetaeva is the poem "You walk like me", written by her in 1913. Death, life, eternity - these are problems that touch not only Marina Ivanovna, but also every person living on earth. People asked such questions yesterday, ask themselves today and will ask themselves about eternity tomorrow and the day after tomorrow.
Strange emotions are evoked by the lines telling about the author in the past tense. Especially noticeable is the mention of her name Tsvetaeva: "... they called me Marina" ... And if you pay attention to the tenses of the used verbs - they are all used in the past tense. It’s cold, a little scary, and it’s quite uncomfortable, even if you try to imagine that a living person is talking about himself in the past tense. Agree, it sounds like goodbye to the world.
Despite its somewhat sad nature, this poem is rhythmically and clearly constructed. An abundance of punctuation marks seem to break speech into its component parts. Such techniques convey the dynamics and steadfastness of the author, fortitude and desire to live. Tsvetaeva on my own example repeatedly proved that life is a difficult thing, but interesting and instructive.
Tsvetaeva seemed to be trying to tell each of us: “Yes, death is inevitable, it is waiting for everyone. Yes, none of us is eternal and this must be accepted, because there is absolutely no other way. Yes, we will never occupy this land forever. But it’s not sad, it’s just what helps us to appreciate every moment ”.
Despite the notes of doom, this poem instills love for life, opens eyes to the world, awakens love for others and helps to appreciate every minute given to us.
You go, you look like me,
Eyes directed down.
I lowered them - too!
Passer-by, stop!
Read - chicken blindness
And typing a bouquet of poppies, -
That they called me Marina
And how old I was.
Don't think that this is the grave
That I will appear threatening ...
I loved too much
Laugh when you can't!
And the blood rushed to my skin
And my curls curled ...
I was there too, passerby!
Passer-by, stop!
Rip your own stalk wild
And the berry after him, -
Graveyard strawberries
No bigger and sweeter.
But just don't stand gloomy
Head down on his chest.
Think about me easily
Forget about me easily.
How a ray illuminates you!
You are covered in gold dust ...
- And don't be confused
My voice is out of the ground.
Marina Tsvetaeva is rightfully considered one of the brightest and most distinctive Russian poetesses of the first half of the 20th century. Her name is inextricably linked with such a concept as the female worldview in literature, figurative, subtle, romantic and unpredictable.
One of the most famous works of Marina Tsvetaeva is the poem "You go, like me ...", written in 1913. It is original both in form and in content, as it is a monologue of a deceased poetess. Moving mentally several decades ahead, Marina Tsvetaeva tried to imagine what her last refuge would be like. In her understanding, this is an old cemetery where the most delicious and juicy strawberries in the world grow, as well as wildflowers, which the poet loved so much. Her work is addressed to descendants, 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, suggests that she will be able to watch this uninvited guest and envy with sadness that he, like she herself once did, walks along the old cemetery alleys, enjoying the peace and quiet of this amazing place, covered with myths and legends.
“Do not think that here is the grave, that I will appear threatening,” the poetess turns to the unknown interlocutor, as if urging him to feel free and at ease on the churchyard. After all, her guest is alive, so he must enjoy every minute of his stay on earth, receiving joy and delight from this. “I myself loved too much, to laugh when it’s impossible,” Tsvetaeva notes, emphasizing that she never recognized conventions and preferred to live as her heart tells her. At the same time, the poetess speaks of herself exclusively in the past tense, claiming that she, too, "was" and experienced a 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 so that it was bright and eventful. 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 don't stand gloomily with your head 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 sorrow. 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 aspect of human existence.
Ironically, the poetess turns to the stranger with the words "And do not be confused by my voice from under the ground." In this short phrase there is also a slight regret that life is not endless, and 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.
That is exactly how, with ease and grace, Marina Tsvetaeva treated death... Apparently, therefore, she was able to make the decision to leave this life on her own after she felt that no one needed her work. And the suicide of the poetess in Yelabuga, which is an act of goodwill, can be regarded as liberation from the unbearable burden that life is, and the acquisition of eternal peace in the other world, where there is no cruelty, betrayal and indifference.
Brief analysis of Tsvetaeva's poem
In poetry Silver Age there are not so many female names: Zinaida Gippius, Sophia Parnok, Irina Odoevtseva, Mirra Lokhvitskaya and some others. But today, perhaps, only the famous Anna Akhmatova and Marina Tsvetaeva are heard.
About the Silver Age
During the second half of the XIX century and at the beginning of the XX century there were many literary associations - symbolism (senior and junior), acmeism, futurism (cubo-futurism, ego-futurism), imagism. Marina Tsvetaeva began her work in the circle of Moscow Symbolists, you can see this if you analyze Tsvetaeva's poem in the early stages of her poetic activity. Anna Akhmatova, following her first husband, Lev Gumilyov, joined the followers of Acmeism.
Anna Akhmatova and Marina Tsvetaeva
Of course, it is impossible not to compare these two brilliant and talented women. First, because they achieved equal success in Russian and even world literature. Secondly, both of them lived and worked in the same era - the era of the Silver Age. And although their poems belong to completely opposite literary movements, common motives can be traced in their poetry. Symbolism proclaims an idealistic philosophy and the rejection of scientific consciousness, while Acmeism, on the contrary, advocates material knowledge of the world, the objectivity and accuracy of the expression of thought. But if you analyze the poem by Marina Tsvetaeva and the poems of Anna Akhmatova, you can easily see the same themes and lines: love ("I lost my mind, oh strange boy ...", "I like that you are not sick with me ..."), despair ( "I clenched my hands under a dark veil ...", "Yesterday I looked into my eyes ..."), devotion ("Gray-eyed king", "How right and left hand"), Mourning (" Requiem "," Your white graves are near .. "). Both women had rather difficult fates and more than one love affair. In 1915, Marina Tsvetaeva dedicated a work to Anna Akhmatova. An analysis of Tsvetaeva's poem, written for another poetess, demonstrates admiration for her talent and identification with her.
Marina Tsvetaeva always talked about herself like that - not a poetess, but a poet, as if deliberately did not recognize the division of poetry into female and male. She was born in Moscow on the day of memory of John the Theologian in 1892, which she did not fail to report in one of her poems. Her family belonged to the creative intelligentsia: her father was a philologist and art critic, her mother was a talented pianist. She and Marina tried to raise a musician, but the girl chose poetry.
From the age of 6, Marina Tsvetaeva wrote poetry, not only in Russian, but also in French and German. She published her first collection at the age of 18, it was called "Evening Album". Her work interested famous poets, including Valery Bryusov, who later attracted Tsvetaeva to the circle of Symbolists. In 1912, the poetess became the wife of the publicist Sergei Efron and gave birth to a daughter, Ariadne. During civil war In 1917, Tsvetaeva had another daughter, Irina, who died of hunger as a three-year-old baby. What grief the poetess experienced can be imagined if we analyze Tsvetaeva's poem "At the coffin". Son George was born in 1925. For some time, Marina Tsvetaeva had a romantic relationship with the poetess Sophia Parnok and even dedicated a cycle of poems to her, but after two years of relationship she returned to her husband. She maintained warm relations with the writer Boris Pasternak. Marina Tsvetaeva lived a really difficult life, having experienced poverty and grief during the war years, powerlessness and pain after the death of her second daughter, despair and fear during the arrests of her husband and both children.
The poetess ended her life with suicide at the age of 49 by hanging herself in someone else's house in Elabuga. An analysis of Tsvetaeva's poem "Suicide" informs that she represented such a death earlier. For a long time the grave of the poetess remained officially unrecognized, but then it was legalized at the insistence of her younger sister, Anastasia Tsvetaeva. At the request of her and Deacon Andrei Kuraev, Tsvetaeva was buried in the church according to all the rules, despite the voluntary departure from life, contrary to Orthodox canons.
Marina Tsvetaeva's aesthetics
In the poetry of Marina Tsvetaeva, the theme of death very often appears. As if the poetess has long been preparing for the sad end of her life and even tried to bring it closer. She often told her friends and relatives where and how she would like to be buried (at the Tarusa cemetery or in Koktebel). But after suicide, her body remained on the Tatarstan land. The theme of death manifests itself in various incarnations, and if we analyze M. Tsvetaeva's poem, the following motives are revealed: the death of the spirit (“In the sour air of the afterlife ...”), the death of a child (“At the coffin”), possibly related to the deceased daughter Irina. But the most important thing is her own death. And this is most fully and strongly illustrated in the work "Passer-by". The analysis of Tsvetaeva's poem according to the plan will be presented below.
"Passer-by": content
This poem was written on May 3, 1913 in Koktebel. Perhaps during this period the poetess was staying at the house of the poet Maximilian Voloshin. Brief analysis Tsvetaeva's poem allows us to conclude that the narration is in the first person. If you try to convey the plot, then it is obvious that this is a monologue with which the heroine addresses a random passer-by who has wandered into the cemetery in order to draw attention to her grave. At the same time, the intrigue is not revealed almost until the very end. From the first lines it is not clear that the voice of the heroine sounds “from the ground”. She advises the anonymous author to read the inscription on the gravestone, find out who is lying here, read the name and date of birth, and lay a bouquet of poppies and night blindness at the grave. In all likelihood, Tsvetaeva herself associates herself with the heroine, since she mentions given name and tries to discover various similarities between himself and the first person he meets - lowered eyes, curly curls, but the main thing is the fact of existence in this world. However, do not forget that in any work of art, fiction always dominates over reality, and real talent lies precisely in making people believe in the invalid.
Marina Tsvetaeva: poems. Analysis of the poem "Passer-by"
Despite the fact that the work has a certain motive for death, death is not directly mentioned here. Those words and phrases that make it clear that the heroine is not alive sound absolutely not mournful and not tragic, on the contrary, Tsvetaeva seemed to want to make it clear that after death life does not end if there is someone to remember about a person. Even if it is a casual passer-by. The passer-by is deliberately shown as faceless, neither his appearance, nor his age, nor even his gender is mentioned, because a woman can be just as legitimate.
Analyzing Marina Tsvetaeva's poem, it is worth mentioning that her heroine takes death easily. She mentions that during her life she was cheerful and is not going to lose this quality even in the afterlife. She asks the passer-by not to grieve for her, because being alive, she herself did not like to do this.
A slightly mystical shade to the poem is given by the words that the spirit of the heroine may suddenly appear in the middle of the cemetery, threatening the unknown, as well as the mention that the appeal to a passer-by sounds from the grave.
The lines about large and sweet graveyard strawberries are related to the life of the poetess herself. In the story "Khlystovka" she wrote with her own hand that she would like to be buried in the Tarusa cemetery, where the reddest and most delicious berry grows.
Other poems by Marina Tsvetaeva
In total, during the life and after the death of Marina Tsvetaeva, about 14 collections of her poems were published ("Evening Album", "Magic Lantern", "Swan Camp", etc.). She wrote more than 20 poems (The Wizard, The Poem of the Room, Siberia, etc.), some of which remained unfinished (The Unfulfilled Poem, The Singer). During the war years and subsequent years Marina Tsvetaeva wrote less often and was mainly engaged in translations in order to support her family. Many of her works remained unpublished at the time. In addition to poetry, Marina Tsvetaeva created several dramatic ("Blizzard", "Ariadna", "Phaedra") and prosaic ("Pushkin and Pugachev", "Poet and Time") works.
Alina Lapitskaya Student (179), closed 5 years ago
You go, you look like me,
Eyes directed down.
I lowered them - too!
Passer-by, stop!
Read - chicken blindness
And typing a bouquet of poppies,
That they called me Marina
And how old I was.
Don't think that this is the grave
That I will appear threatening ...
I loved too much
Laugh when you can't!
And the blood rushed to my skin
And my curls curled ...
I was there too, passerby!
Passer-by, stop!
Rip your own stalk wild
And the berry after him:
Graveyard strawberries
No bigger and sweeter.
But just don't stand gloomy
Head down on his chest.
Think about me easily
Forget about me easily.
How a ray illuminates you!
You are covered in gold dust ...
- And don't be confused
My voice is out of the ground.
Literally in 10 sentences
I will be grateful!
GALINA Supreme Intelligence (747050) 5 years ago
Rereading the poems of young Tsvetaeva is like sorting through jewels in a casket: each sparkles with an elegant joke, then with genuine excitement, and the abundance of motives, themes, moods, tonalities is so great that you can easily believe in Voloshin's persuasions to publish Tsvetaeva's poems under several pseudonyms. These poems are easy to understand, transparent in meaning, they have a naturally free intonation of the self. And one more essential feature is indomitable love of life.
Feelings, views, emotions that overwhelmed her in her youth. I wanted to see, feel, capture everything in her bright and light lyrics by the uncompromising Marina Ivanovna.
At the beginning of the century, it was very fashionable among the Symbolists to write about the other world, their departure, death. Independent Tsvetaeva also paid tribute to fashion, but she did it surprisingly directly, without a picture posture, excessive tearfulness and words. At a very young age, she talks about the inevitability of her departure. With a slight sadness, a little ironic, probably because this date is still far away: she philosophized and dismissed it.
... Don't think that this is the grave
That I will appear threatening.
I loved too much
Laugh when you can't!
And the blood rushed to my skin
And my curls curled.
I was there too, passerby!
Passer-by, stop!
The poem is distinguished by the conciseness of thought and the energy of feelings. This is what entails the active use of punctuation marks that help to comprehend the meaning.
The syntax and rhythm of her poems are complex. Immediately you pay attention to the poet's addiction to the dash. Today, this punctuation mark supplants both the comma and the colon. It's amazing how M. Tsvetaeva was able to feel the possibilities of the dash almost a century ago! Dash is a "strong" sign that cannot be overlooked. It helps to stamp out the words: "I omitted them - too!". "Read - chicken blindness."
Probably, the lack of richness of epithets used in the poem stems from the conciseness of thought and energy of feelings: "wild stalk." "Graveyard strawberries".
M. Tsvetaeva uses a single metaphor - “in the golden dust”.
But repetitions are widely represented: “. that there is a grave here. " “That I will appear threatening. ". anaphora: "And the blood rushed to the skin." “And my curls were curling. ". All this, as well as alliteration to the sound "s". disposes to reflection, reasoning.
muscle museum museum Student (84) 5 years ago
In it, the author expresses his reflections on eternity, life and death. The life of M. Tsvetaeva for five years, starting from 1912, was the happiest in comparison with all previous and subsequent years. In September 1912, Marina Tsvetaeva's daughter Ariadne was born. 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 go, like me, / Eyes directed down. / I lowered them - too! / Passer-by, 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. ". They called me Marina. " - writes the poetess. The past tense of the verb is alarming. Does it mean that they are not calling now? So we can only talk about a deceased person, and the following lines confirm this conjecture. Everything that has already been said is filled with a new meaning: it turns out that the once-lived poetess is addressing a passer-by looking at the gravestones in the cemetery and the inscriptions engraved on them. Attention is drawn to the consonance "similar - passer-by". In the poem, these words occupy such positions that rhymes do not form: 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 the stressed syllables coincide and those that follow them, but the pre-stressed ones are also consonant. What is the meaning of juxtaposing these words? I think the author wanted to emphasize the following point: everyone who catches up with her voice from under the ground is like her. She, too, once "was." as a passer-by now, that is, she lived, enjoying the joy of being. And this is truly admirable.
Listen to Marina Tsvetaeva's poem passer-by
You go, you look like me,
Eyes directed down.
I lowered them - too!
Passer-by, stop!
Read - chicken blindness
And typing a bouquet of poppies,
That they called me Marina
And how old I was.
Don't think that this is the grave
That I will appear threatening ...
I loved too much
Laugh when you can't!
And the blood rushed to my skin
And my curls curled ...
I was there too, passerby!
Passer-by, stop!
Rip your own stalk wild
And the berry after him, -
Graveyard strawberries
No bigger and sweeter.
But just don't stand gloomy
Head down on his chest.
Think about me easily
Forget about me easily.
How a ray illuminates you!
You are covered in gold dust ...
- And don't be confused
My voice is out of the ground.
The poem "You go, you look like me ..." (1913) is one of the most famous in Tsvetaeva's early work. The poet often surprised her readers with original views. This time, the young girl presented herself as dead long ago and addressing a casual visitor to her grave.
Tsvetaeva encourages a passerby to stop and reflect on her death. She does not want to be mourned and pitied. She considers her death an inevitable event to which all people are subject. Describing her appearance during her lifetime, the poetess reminds a passerby that they were once similar. The grave should not arouse in him a sense of fear or danger. Tsvetaeva wants the visitor to forget about the grave ashes and imagine her alive and cheerful. She believes that the death of a person should not be grieving for the living. An easy and carefree attitude towards death is the best reverence for the memory and a tribute of respect for the dead.
Tsvetaeva believed in an afterlife. The poem reflected her belief that after death a person will be able to look at his last refuge and somehow influence the attitude of living people towards him. The poetess wanted the cemetery to be associated not with a gloomy and sad place. In her view, her own grave should be surrounded by berries and herbs that can delight the eyes of visitors. This will distract them from the feeling of irreparable loss. The dead will be perceived as souls who have passed into another world. In the last lines, the poetess uses vivid image the setting sun, showering a passer-by with "gold dust". It emphasizes the sense of peace and tranquility that prevails in the cemetery.
Tsvetaeva believed that a person would continue to live as long as the memory of him is kept. Physical death does not lead to spiritual death. The very transition from one world to another should be perceived easily and painlessly.
Many years later, the poetess voluntarily gave up her life. By then, she had experienced many disappointments and losses and hardly shared her early views. Nevertheless, suicide became a deliberate and deliberate step. Having lost all hope for earthly life, Tsvetaeva decided that it was time to check the existence of the afterlife. The posthumous recognition of the poetess to a large extent justified her hopes for immortality.
The poem "You go, you look like me" was written by a young poetess in a very unusual shape- this is a monologue dead woman... A brief analysis “You are walking, similar to me” according to the plan will help to understand why it was she who chose this form and other subtleties of the work. The material can be used in a literature lesson in grade 5 for deep insight into the topic.
Brief analysis
History of creation- the poem was written in 1913 in Koktebel, where the poetess was staying with Maximilian Voloshin with her husband and little daughter.
Poem theme- the meaning of human life and the essence of death.
Composition- one-part, monologue-reasoning consists of seven stanzas and is built sequentially from the first to the last.
genre- philosophical lyrics.
Poetic size- iambic with pyrrhic.
Epithets – “graveyard strawberry "," gold dust“.
Metaphor – “covered in gold dust“.
History of creation
This poem, like a number of others, was written by Marina Tsvetaeva in Koktebel, where she, together with her husband and one-year-old daughter, came to visit in 1913. The guests were received by Maximilian Voloshin, who settled them in a separate house. The always noisy house of Voloshin that year was strangely empty, and the weather was more conducive to thinking than walking, so this trip became very significant for the poetess.
Twenty-year-old Tsvetaeva was worried beyond her years by important philosophical questions, to one of which she dedicated the poem “You go, you look like me”.
Topic
The work is dedicated to the meaning human life and the essence of death - this is his main theme. I must say that Tsvetaeva was superstitious and believed in an afterlife. She considered death only a transition to new form existence. And although a person does not know anything about this form, this is not a reason for sadness.
Composition
The semistrophic verse develops the idea that worried the poetess all her youth - about what happens to a person after his death. Giving your thoughts original form monologue on her own behalf, Tsvetaeva argues as, in her opinion, she could speak after her death already from under the gravestone.
She calls on an unknown passer-by who wandered into the cemetery to stop and read what is written on her grave. And be sure to pick flowers and eat strawberries, because death is not a reason for sadness, She especially clearly expresses the last thought in the sixth stanza, addressing a stranger with a request not to be sad in any way, but to think about her with ease and just as easily forget about this episode of my life.
The last stanza is a hymn to life: a person who stands illuminated by the bright sun should not worry about a voice coming from under the ground, because all life is in front of him.
genre
In her youth, Marina Tsvetaeva often turned to the genre of philosophical lyrics, to which this poem belongs. The poet was worried about many difficult questions, including death. This work makes it clear that she treated her with ease and grace, as something inevitable.
The poem is written in iambic and pyrrhic, which creates the feeling of a relaxed, lively speech.
Expression tools
This is not to say that this work is rich in tropes: the poetess uses epithets- "graveyard strawberries", "gold dust" - and metaphor- “covered in gold dust“. The main role in creating moods is played by punctuation marks - dashes. They give strength to all Tsvetaeva's words, allow to highlight the main thoughts and emphasize the essence of the idea that she conveys to the reader. Conversion is also an important artistic technique that attracts the reader's attention and creates a special form of poem.
The poem "You Come, Look Like Me" was written by Marina Tsvetaeva back in 1913, but now, after a century and a half, these lines in many ways look prophetic, without losing their mysterious mysticism.
In the world of the dead
A superficial analysis opens a story 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 him to draw attention to herself:
Passer-by, stop!
What attracted Marina's attention to the stranger? Similarity, because he walks with his eyes down, as the heroine liked to do. After the first call to stop, the passer-by stops and begins to address him, in some way a confession. Marina urges the passer-by not to be afraid to laugh, as she was not afraid of it:
I loved too much
Laugh when you can't!
Dead man's voice
An exhausted soul rises for communication, it is tired of loneliness and wants to talk, even if it is an ordinary passer-by. Marina wants to get closer to her through simple advice to taste the graveyard strawberries, because this dialogue is dear to her, this is the cry of a soul chained in a grave.
At the end of the conversation (rather, a monologue), the heroine tries to save the stranger from sad thoughts in the future, because not every day they turn to you at the cemetery:
Think about me easily
Forget about me easily.
Life and death
What is unknown below, life above, sprinkled with gold dust as a sign of the divine beginning of life.
Already in 1913, when Tsvetaeva was full of life and plans, the poetess wrote lines about the afterlife. She, too, was a passer-by, lowering her eyes 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 value this life here and now, not too often lowering their eyes and allowing themselves to occasionally laugh even when it is impossible.
P.S. And why is the graveyard strawberry really the largest and sweetest? Perhaps because she has very attentive owners who want only the best berries to decorate their graves.
You go, you look like me,
Eyes directed down.
I lowered them - too!
Passer-by, stop!
Read - chicken blindness
And typing a bouquet of poppies,
That they called me Marina
And how old I was.
Don't think that this is the grave
That I will appear threatening ...
I loved too much
Laugh when you can't!
And the blood rushed to my skin
And my curls curled ...
I was also a passerby!
Passer-by, stop!