The theme of the work is like me. Analysis of Tsvetaeva’s poem “You look like me”: a brief description of the work

“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 wildflowers, which the poetess loved so much. Her work is addressed to descendants, more precisely, to 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.

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 afterworld. She, too, was a passerby, looking down first in Russia, then in Europe, then again in 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!

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.

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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 the most important questions that 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 was only a transition to mysterious world, and about which no one knows anything until now. The poetess asks for her uninvited guest not to be sad, to perceive death in the same way as 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 around this old cemetery and looking at the tombstone inscriptions.

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 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.