Read poetry on this page "AT big city mine - the night ... " Russian poet Marina Tsvetaeva written in the year.

In my huge city - night ...

In my huge city - night. From the sleepy house I go - away And people think: wife, daughter - And I remember one thing: the night. The July wind sweeps me - the way, And somewhere the music in the window - a little. Ah, now the wind until dawn - to blow Through the walls of thin breasts - into the chest. There is a black poplar, and there is light in the window, And the ringing on the tower, and the color in the hand, And this step - following no one, And this shadow, but not me. Lights - like strands of golden beads, Night leaf in the mouth - taste. Release from daily ties, Friends, understand that I am dreaming for you.

Thought armed with rhymes. 2nd ed.
Poetic anthology on the history of Russian verse.
Compiled by V.E. Kholshevnikov.
Leningrad: Publishing house Leningrad University, 1967.

Themes of the poem

silver Age

Other poems by Marina Tsvetaeva

Choose verses... August - asters... Ale Akhmatova Grandmother Byron Balmont White sun and low, low clouds... To Berlin In the hall In my huge city - night... In Paris In a desert temple... In paradise Into the blue sky widening my eyes... In the black sky the words are inscribed... To the leaders War, war ! - Burning at the icon cases... Here again the window... I keep repeating the first verse... I opened my veins: unstoppable... Meeting Yesterday I looked into my eyes... You walking past me... Death from a woman. Here is a sign... Eyes Your years are a mountain... Silver pigeons fly... Bitterness! Bitterness! Eternal taste... Two suns get cold, - oh Lord, have mercy!.. Two - hotter than fur!.. December and January Children's Day wild will Slugs sliding down for days ... Valor and virginity! - This union ... It was thought: they would be easy ... Caper than an organ and louder than a tambourine ... If the soul was born winged ... Another prayer Keep an eye on the girls, do not turn sour ... For I didn’t abide by the books of the Commandments... I know, I’ll die at dawn! - My voice is dumb ... From Poland with its arrogant ... From a fairy tale to a fairy tale Each verse is a child of love ... Like a right and left hand ... Stone-chested, stone-browed, stone-browed ... Books in red binding When I look at flying leaves... Someday, lovely creature... With a red brush... Christening Who is made of stone, who is made of clay... Kurlyk fogs I love - but the flour is still alive ... Love! Love! And in convulsions, and in a coffin ... To M. A. Voloshin to Mama Mayakovsky Dear companions who shared an overnight stay with us! so early ... Prayer Why do I need clouds and steppes ... People I don’t think, I don’t complain, I don’t argue ... Not a thunder wheel ... Not today, tomorrow the snow will melt ... You won’t die, people! .. Inimitable lies life... No! Still hunger for love... No one has taken anything away!.. New Moon Nights without a loved one - and nights... You won't find a night guest... Today I'm a heavenly guest... Oh, tears in my eyes!.. Ravine Why such tenderness? At night all the rooms are black... Over the hills - round and swarthy... Devouring fire - my horse... Full moon, and bear's fur... An attempt at jealousy It's time to take off the amber... It's time! For this fire is old!.. I dedicate these lines... After a sleepless night, the body weakens... A strange illness happened to it... Signs My posture is simple... A passer-by A conversation with a genius Shattered into silver smithereens... : versts, miles... Motherland (Oh, unyielding tongue...) Roland's Christmas lady's horn Hands are given to me - to stretch out both to everyone... I bow to Russian rye... Knight on the bridge Light silver bloom... Seven swords pierced the heart... Gathering loved ones on the road... The sun is one, but it walks... The veins are filled with the sun - not with blood... Poems to Pushkin Poems grow like stars and like roses... Country Only a girl Just live - I dropped my hands... I'll just close my hot eyelids... Trinity alliance You throw back your head... You, who loved me falsely... By the fireplace, by the fireplace... How many of them have fallen into this abyss... Smile to my window. .. Dying, I won’t say: I was ... Gone - I don’t eat ... A flower pinned to my chest ... Gypsy passion for separation! .. Chelyuskinites Emigrant I am. You will be... I forgot that your heart is only a night light... I am happy to live in an exemplary and simple way... Scimitar? Fire?..

“In my huge city - night ...” Marina Tsvetaeva

In my great city it is night.
From the sleepy house I go - away
And people think: wife, daughter, -
And I remember one thing: the night.

The July wind sweeps me - the way,
And somewhere the music in the window - a little.
Oh, now the wind until dawn - blow
Through the walls of thin breasts - into the chest.

There is a black poplar, and there is light in the window,
And the ringing on the tower, and in the hand - the color,
And this step - to no one - after,
And this shadow is here, but not me.

Lights are like threads of golden beads,
Night leaf in the mouth - taste.
Release from daily bonds,
Friends, understand that I am dreaming of you.

Analysis of Tsvetaeva's poem "In my huge city - night ..."

In the spring of 1916, Marina Tsvetaeva begins work on a cycle of works called "Insomnia", which includes the poem "In my huge city - night ...". It is a reflection state of mind a poetess who has a very difficult relationship with her husband. The point is that for several years before Tsvetaeva meets Sofia Parnok and falls in love with this woman so much that he decides to leave the family. But the novel ends, and the poetess returns to Sergei Efron. However, her family life has already cracked, and Tsvetaeva understands this very well. She wants to return the past in which she was happy, but this is no longer possible. Insomnia becomes a constant companion of the poetess, and warm summer nights she walks around the city thinking about own life and not finding answers to many questions.

It is on one of these nights that the poem “In my huge city is night ...” is born, the chopped phrases of which resemble the sounds of steps along deserted streets. “I’m going from a sleepy house - away,” writes Tsvetaeva, without planning her travel route in advance. In fact, she doesn't care where she walks. The main thing is to be alone with your thoughts and feelings in order to try to put them in order. Passers-by see her as someone's wife and daughter, but the poetess herself does not perceive herself in such a role. For her, the image of a disembodied shadow that wanders around the night city and disappears with the first ray of the rising sun is closer. “And this shadow is here, but not me,” Tsvetaeva notes. The impasse in which the poetess finds herself forces her to mentally put an end to both the past and the future. But the poetess understands that this is unlikely to solve her problems. Turning to her friends, she asks them: "Free me from daily ties." This phrase once again emphasizes that the world, with all its temptations, does not seem to exist for Tsvetaeva, and she herself does not live, but only dreams of those who are nearby. The poetess does not yet know that fate is preparing difficult trials for her, against which unrequited feelings and family problems will seem mere trifles. It won't pass more than a year, and Tsvetaeva realizes that the family is the only support in life, something for which it is worth taking risks, doing crazy things and even betraying the homeland, which overnight turned from a mother into a stepmother, angry and aggressive, alien and devoid of any sentimentality.

Tsvetaeva is a mystery. And this mystery must be solved. If you solve it all your life, then don’t say that you lost time, because Tsvetaeva is like a huge ocean, and every time, plunging into it, your heart feels delight and compassion, and the eyes fill with tears.
One of the central motives in the work of the poetess is the motive of insomnia. The cycle "Insomnia", which includes the poem "In my great city - night", belongs to the category of so-called "author's" cycles. It was formed by Tsvetaeva herself and published in her lifetime collection Psyche, published in Berlin in 1923. It still remains unclear what attracted the poetess to insomnia so much, its true meaning and purpose were known only to Tsvetaeva herself. Insomnia in her poems is a shaky border between sleep and reality, life and death, light and darkness; a world in which Tsvetaeva could see what others do not see, a world in which it was easier for her to create, since he revealed the true picture of what was happening in reality. The connection of the poetess with this world was maintained with the help of her friend, who was also a constant companion. The world of "insomnia" is what Tsvetaeva was striving for in the real world, it is ideal.
The lyrical heroine of the poem walks through the city at night, she seems to be in a different world, but at the same time she sees everything that happens in her city. Thus, she is both in the real world and in the world of insomnia at the same time. She is alone in the city, whose space is real, but she is alone in insomnia. The duality of Tsvetaeva's consciousness emphasizes her uniqueness and ability to see the same thing with different sides. Insomnia is also presented as a state in which a person is invisible, a certain mysticism appears, which is inherent in many of her poems. It is also important that the lyrical heroine is now running from sleep (“I’m going from a sleepy house - away”). In the last stanza, a request sounds: she still wants to go into the world of dreams, not to be a dream of other people (“Free me from daytime ties, / / ​​Friends, understand that I am dreaming of you”).
Poems are filled with feelings and meaning, they are alive. They hear the poetry of A.A. Fet: the image of a poplar under the window and the motive of "merging" lyrical hero with the night, up to complete dissolution in it, which ends with Tsvetaeva’s code for Fet’s poetry with the word “lights” (Fet’s collection “Evening Lights”):
There is a black poplar, and there is light in the window,


And this shadow is here, but not me.
Lights are like threads of golden beads,
Night leaf in the mouth - the taste ...
From the family, relatives who lived with Tsvetaeva under the same roof, for whom she would give her life (and gave it!), From loved ones, her closest ones, she always sought to “away”: “I’m going from a sleepy house - away ...”. "Get away" is a frequent word in her letters and poems. Away - this is not from one house to another, this is the liberation "from the bonds of the day", duties and obligations to the family, which she faithfully served during the day, - a freedom that only happens at night.
Night in Tsvetaeva's poetry is associated with a mystery that not everyone is able to discover, unravel. The night is capable of igniting, revealing a secret. Night is the time for sleeping. This is a period during which much can be changed, this is the line between the past, the future, and the present. Thus, M. Tsvetaeva sees the mystical nature of this word, because. night is the time of knowing oneself, the secrets of life, the opportunity to listen in silence to a special world, to oneself.
Within the framework of one quatrain, the word "night" has a completely different meaning:
In my great city it is night.
From the sleepy house I go - away.
And people think: wife, daughter, -
And I remember one thing: the night.
In the first case, the word night is the time of day. In the second, it has an objective-animate meaning and is placed on a par with the nouns wife, daughter.
The dash in Tsvetaeva's punctuation is the most capacious and semantic sign, in each poem the dash acquires its own shade, its own inner subtext. Tsvetaeva uses the dash to create rhyme, rhythm, conveying her emotions and experiences through it, to convey what cannot simply be expressed in words. She puts a dash where, in her opinion, a pause, a sigh, or just a transition from one part to another is needed. With the help of a dash, it enhances the impression of the whole text, filling it with great meaning. The dash often plays a bigger role than the words themselves.
The poem is literally “strewn” with these punctuation marks. We can assume that the purpose of using so many dashes is to highlight words, the desire to convey to the reader the true meaning of what is written. In almost every line of the poem there is a word or words highlighted by a dash. If you build a series of these words, you can see what happens to the heroine. It turns out the following row: night - away - wife, daughter - night - path - a little - blow - in the chest - light - color - no one - after - no - lights - taste - I dream. What do these words tell us? First, each of them falls logical stress, which highlights the most important. Secondly, a picture is created secret world Tsvetaev's "insomnia". This is the way of a lonely man in the night; this is an unusual condition; it is a world of contrasts that is not open to everyone.
The dash before each last word in the poem focuses on it. This word stands out. If you remove all the words in the line before the dash, you get a set of fleeting images, flashes: “night”, “away”, “daughter”, “path”, “slightly”, “blow”, “in the chest”, “light”, "color", "follow". Rhyme and dash creates a clear rhythm. A feeling of lightness and freedom is created, it doesn’t matter “wife”, “daughter”, everything is calm. You disappear, overwhelmed with sensations of light wind, color, taste ... and nothing is needed anymore. Tsvetaeva asks to let her go and understand that only freedom gives joy: “Friends, understand that I am dreaming of you.” The dash before the word “I’m dreaming”, as an indication to the exit, that all this is not there, that “I’m just dreaming of you”, has gone over the line, and everything has gone with it. This is all a fleeting dream, a surge of what was, will be or never will be.
The functional analogy with the dot is strengthened by the position of the words “night”, “away”, “daughter” and others. last words in each of the lines - after the punctuation marks, indicating a psychological pause, especially after the non-normative dash, dismembering the syntagmas, I go - away; sweeps - the path, etc. The final intonation of the lines, reinforced by the monosyllable of the last words in the lines, comes into conflict with the enumerative intonation of the sentences, which is indicated by commas in some lines. Such a contradiction is comparable to the contradiction of rhythm and syntax in the position of poetic transfer.
The repetition of the union “And” unites phenomena that occur simultaneously, creates a feeling of some kind of movement, the presence of sounds: “and the ringing on the tower”, “and this step”, “and this shadow”. But the author does not care about "THIS". She is outside of earthly life: “I don’t exist.”
To attract our attention, to express her feelings, Tsvetaeva uses the address "friends." Different types one-part sentences perform different stylistic function: definitely personal (“I’m going away from the sleepy house”, etc.) give the text liveliness, dynamism of presentation; nominative (“in my huge city - night”, etc.) are distinguished by a large semantic capacity, clarity, expressiveness.
The vocabulary of the poem is varied. In the first place in terms of frequency are nouns: “wife”, “daughter”, “wind”, “people” and others (31 words in total), thanks to which the reader can clearly imagine a picture of what is happening. There are 91 words in the text. And only 7 of them are verbs (“I go”, “think”, “remembered”, “sweeps”, “blow”, “free”, “understand”). The words "go", "sweep", "blow" are verbs of motion. The author uses the pronouns “my”, “I”, “me”, “this”, “this”, “you”; adverbs "away", "following", "a little"; adjectives "huge", "sleepy", "July", "thin", "black", "gold", "night", "day". spoken word"today" shows the earthiness, the routine of what is happening. The use of the interjection "ah" expresses both a feeling of delight and a feeling of surprise. The use of the same-root words "chest - in the chest." The use of the diminutive - petting suffix "IK" in the word "leaf" draws an analogy with the word "mysticism", which, as already mentioned, is characteristic of Tsvetaeva's poems.
The expressiveness of speech is created thanks to the epithets (“from the sleepy house”, “black poplar”, “golden beads”, “night leaf”, “daytime bonds”), which express emotional attitude speaker to the subject of speech; complete picture is achieved. Understand the main idea invested by the author, create an integral artistic image metaphors help: “the wind sweeps”, “free from daily bonds”. Comparison compares one concept ("lights") with another ("like strands of golden beads"). The simultaneity of actions creates a sound anaphora:
And the ringing on the tower, and in the hand - the color,
And this step - to no one - after,
And this shadow is here, but not me.
Each letter (sound) in a poem is a whole musical composition, so it is set to music, there is a very beautiful romance.
In the first two stanzas there is an assonance (repetition of the sound “O”), which gives the verses insight, breadth, boundlessness:
IN THE HUGE CITY IS MY NIGHT.
From the sleepy house I go - away.
The presence of the vowels "I", "U", "A" speaks of the breadth, strength, impressionability and spirituality of the heroine, and "E" is the color of youth (Tsvetaeva is only 23 years old).
The poem is bright, although the night is described. Only 3 vowels "Y" ("today", "golden", "daytime"), which denote black, gloom.
But the sound "G" tells us about the longing of the heroine, her sadness: "great City", "Chest to Chest".
The repeated consonant "T" ("wind", "meteT", "way", "blow", etc.) creates an atmosphere of coldness, inner restlessness, alienation.
There is a lot of tenderness in the poem. This is evidenced by the sound “N”: “Night”, “sleepy”, “thin”, “ringing”, “tower”, “shadow”, etc.
Tsvetaevsky's "In my huge city - the night ..." is written in a not very common in Russian poetry size holiyamb. The word "holiyamb" means "lame iambic" - in the last foot iambic (ta-TA) is replaced by trochee (TA-ta).
Aphoristically short monosyllabic words in spondei (accumulations of stressed syllables) following pyrrhicia (accumulations of unstressed syllables) are perceived as a verbal-rhythmic analog of a dot when reading a poem.
From a number of other authors, Tsvetaeva is distinguished by extreme sincerity, intolerance to patterns and rules, independence in views and assessments. She reveals herself, her life, to us with rare sincerity.
The poetry of Marina Tsvetaeva requires an effort of thought. Her poems and poems cannot be read and read in between times, mindlessly slipping through the lines and pages. Even in the very first, naive, but already talented verses, the best quality Tsvetaeva as a poet - the identity between personality, life and word. That is why we say that all her poetry is a confession!

When you read the verse “In my huge city it is night ...” by Tsvetaeva Marina Ivanovna, it seems that you can hear every step of a lonely woman, deeply immersed in her thoughts. This effect is created using sharp chased lines.

The work belongs to the Insomnia cycle, which was written by Tsvetaeva when she was going through a break in relations with Sofia Parnok. The poetess returned to her husband, but she could not find inner peace. The text of Tsvetaeva's poem "In my huge city - night ..." is woven from the details of the surrounding lyrical heroine of the city, which was drowned in the night. Despite the fact that there is no direct description of the state of mind of the lyrical heroine, the overall picture expresses it more than vividly.

These poems are taught in high school literature classes, paying attention to the personal motives for writing it. On our website you can read the poem in full online or download it from the link.

In my great city it is night.
From the sleepy house I go - away
And people think: wife, daughter, -
And I remember one thing: the night.

The July wind sweeps me - the way,
And somewhere the music in the window - a little.
Ah, now the wind until dawn - to blow
Through the walls of thin breasts - into the chest.

There is a black poplar, and there is light in the window,
And the ringing on the tower, and in the hand - the color,
And this step - to no one - after,
And this shadow is here, but not me.

Lights are like threads of golden beads,
Night leaf in the mouth - taste.
Release from daily bonds,
Friends, understand that I am dreaming of you.

Lingvo - poetic analysis of a poem M. Tsvetaeva

“In my huge city - night ...”

Teacher of Russian language and literature:

Ratnikova Lilia Vladimirovna

Marina Tsvetaeva

From the cycle "Insomnia".

In my great citynight.

From the sleepy house I go -away.

And people think: wife,daughter, –

And I remember one thing:night.

July wind sweeps me -way,

And somewhere music in the window -a little.

Oh, now the wind until dawn -blow

Through the walls of thin breasts -in the chest.

light,

And the ringing on the tower, and in the hand -Colour,

And this step - to no one -after,

And this shadow, and me -No.

Lights are like threads of goldbeads,

Night leaf in the mouth -taste.

Free from daytimebonds,

Friends, understand that I am to you -dream.

July 17, 1916

Moscow

Her poems are distinguished by conciseness of thought and energy of feeling.

M. Voloshin.

M. Tsvetaeva is a mystery. And this mystery must be solved. If you solve it all your life, then don’t say that you lost time, because Tsvetaeva is like a huge ocean, and every time you plunge into it, your heart feels delight and compassion, and your eyes fill with tears.

One of the central motives in the work of the poetess is the motive of insomnia. The cycle "Insomnia", which includes the poem "In my great city - night", belongs to the category of so-called "author's" cycles. It was formed by Tsvetaeva herself and published in her lifetime collection Psyche, published in Berlin in 1923.It still remains unclear what attracted the poetess to insomnia so much, its true meaning and purpose were known only to Tsvetaeva herself. Insomnia in her poems is a shaky border between sleep and reality, life and death, light and darkness; a world in which Tsvetaeva could see what others do not see, a world in which it was easier for her to create, since he revealed the true picture of what was happening in reality. The connection of the poetess with this world was maintained with the help of her friend, who was also a constant companion. The world of "insomnia" is what Tsvetaeva was striving for in the real world, it is ideal.

The lyrical heroine of the poem walks through the city at night, she seems to be in a different world, but at the same time she sees everything that happens in her city. Thus, she is both in the real world and in the world of insomnia at the same time. She is alone in the city, whose space is real, but she is alone in insomnia. The duality of Tsvetaeva's consciousness emphasizes her uniqueness and ability to see the same thing from different angles. Insomnia is also presented as a state in which a person is invisible, a certain mysticism appears, which is inherent in many of her poems. It is also important that the lyrical heroine is now running from sleep (“I’m going from a sleepy house - away”). In the last stanza, a request sounds: she still wants to go into the world of dreams, not to be a dream of other people (“Free me from daytime ties, / / ​​Friends, understand that I am dreaming of you”).

Poems are filled with feelings and meaning, they are alive. The poetry of A.A. Fet is heard in them: the image of a poplar under the window and the motif of the “merging” of the lyrical hero with the night, up to complete dissolution in it, which ends with Tsvetaeva’s code for Fet’s poetry with the word “lights” (Fet’s collection “Evening Lights” ):

There is a black poplar, and in the window -light,

And the ringing on the tower, and in the hand -Colour,

And this step - to no one -after,

And this shadow, and me -no.

Lights are like threads of goldbeads,

Night leaf in the mouth -taste…

From the family, relatives who lived with Tsvetaeva under the same roof, for whom she would give her life (and gave it!), From loved ones, her closest ones, she always sought to “away”: “I’m going from a sleepy house - away ...”. "Get away" is a frequent word in her letters and poems. Away - this is not from one house to another, this is the liberation "from the bonds of the day", duties and obligations to the family, which she faithfully served during the day, - a freedom that only happens at night.

Night in Tsvetaeva's poetry is associated with a mystery that not everyone is able to discover, unravel. The night is capable of igniting, revealing a secret. Night is the time for sleeping. This is a period during which much can be changed, this is the line between the past, the future, and the present. Thus, M. Tsvetaeva sees the mystical nature of this word, because. night is the time of knowing oneself, the secrets of life, the opportunity to listen in silence to a special world, to oneself.

Within the framework of one quatrain, the word "night" has a completely different meaning:

In my great city it is night.

From the sleepy house I go - away.

And people think: wife, daughter, -

And I remember one thing: the night.

In the first case, the word night is the time of day. In the second, it has an objective-animate meaning and is placed on a par with the nouns wife, daughter.

The dash in Tsvetaeva's punctuation is the most capacious and semantic sign, in each poem the dash acquires its own shade, its own inner subtext. Tsvetaeva uses the dash to create rhyme, rhythm, conveying her emotions and experiences through it, to convey what cannot simply be expressed in words. She puts a dash where, in her opinion, a pause, a sigh, or just a transition from one part to another is needed. With the help of a dash, it enhances the impression of the whole text, filling it with great meaning. The dash often plays a bigger role than the words themselves.

The poem is literally “strewn” with these punctuation marks. We can assume that the purpose of using so many dashes is to highlight words, the desire to convey to the reader the true meaning of what is written. In almost every line of the poem there is a word or words highlighted by a dash. If you build a series of these words, you can see what happens to the heroine. It turns out the following row: night - away - wife, daughter - night - path - a little - blow - in the chest - light - color - no one - after - no - lights - taste - I dream. What do these words tell us? First, each of them has a logical emphasis that highlights the most important thing. Secondly, a picture of the secret world of Tsvetaeva's "insomnia" is created. This is the way of a lonely man in the night; this is an unusual condition; it is a world of contrasts that is not open to everyone.

The dash before each last word in the poem focuses on it. This word stands out. If you remove all the words in the line before the dash, you get a set of fleeting images, flashes: “night”, “away”, “daughter”, “path”, “slightly”, “blow”, “in the chest”, “light”, "color", "follow". Rhyme and dash creates a clear rhythm. A feeling of lightness and freedom is created, it doesn’t matter “wife”, “daughter”, everything is calm. You disappear, overwhelmed with sensations of light wind, color, taste ... and nothing is needed anymore. Tsvetaeva asks to let her go and understand that only freedom gives joy: “Friends, understand that I am dreaming of you.” The dash before the word “I’m dreaming”, as an indication to the exit, that all this is not there, that “I’m just dreaming of you”, has gone over the line, and everything has gone with it. This is all a fleeting dream, a surge of what was, will be or never will be.

The functional analogy with the dot is strengthened by the position of the words "night", "away", "daughter"and other last words in each of the lines - after punctuation marks indicating a psychological pause, especially after a non-normative dash that divides syntagmasI go - away; sweeps - the wayetc. The final intonation of the lines, reinforced by the monosyllable of the last words in the lines, comes into conflict with the enumerative intonation of the sentences, which is indicated by commas in some lines. Such a contradiction is comparable to the contradiction of rhythm and syntax in the position of poetic transfer.

The repetition of the union “And” unites phenomena that occur simultaneously, creates a feeling of some kind of movement, the presence of sounds: “and the ringing on the tower”, “and this step”, “and this shadow”. But the author does not care about "THIS". She is outside of earthly life: “I don’t exist.”

To attract our attention, to express her feelings, Tsvetaeva uses the address "friends." Different types of one-component sentences perform different stylistic functions: definitely personal (“I’m going from the sleepy house - away”, etc.) give the text liveliness, dynamism of presentation; nominative (“in my huge city - night”, etc.) are distinguished by a large semantic capacity, clarity, expressiveness.

The vocabulary of the poem is varied. In the first place in terms of frequency are nouns: “wife”, “daughter”, “wind”, “people” and others (31 words in total), thanks to which the reader can clearly imagine a picture of what is happening. There are 91 words in the text. And only 7 of them are verbs (“I go”, “think”, “remembered”, “sweeps”, “blow”, “free”, “understand”). The words "go", "sweep", "blow" are verbs of motion. The author uses the pronouns “my”, “I”, “me”, “this”, “this”, “you”; adverbs "away", "following", "a little"; adjectives "huge", "sleepy", "July", "thin", "black", "gold", "night", "day". The colloquial word "today" shows the earthiness, the routine of what is happening. The use of the interjection "ah" expresses both a feeling of delight and a feeling of surprise. The use of the same-root words "chest - in the chest." The use of the diminutive - petting suffix "IK" in the word "leaf" draws an analogy with the word "mysticism", which, as already mentioned, is characteristic of Tsvetaeva's poems.

The expressiveness of speech is created thanks to epithets (“from the sleepy house”, “black poplar”, “golden beads”, “night leaf”, “day bonds”), which express the emotional attitude of the speaker to the subject of speech; complete picture is achieved. Metaphors help to understand the main idea invested by the author, to create an integral artistic image: “the wind sweeps”, “free from daytime ties”. Comparison compares one concept ("lights") with another ("like strands of golden beads"). The simultaneity of actions creates a sound anaphora:

And the ringing on the tower, and in the hand -Colour,

And this step - to no one -after,

And this shadow, and me -No.

Each letter (sound) in the poem is a whole piece of music, so it is set to music, there is a very beautiful romance.

In the first two stanzas there is an assonance (repetition of the sound “O”), which gives the verses insight, breadth, boundlessness:

IN THE HUGE CITY OF MY -night.

I'm going from the sleepy house -away.

The presence of the vowels "I", "U", "A" speaks of the breadth, strength, impressionability and spirituality of the heroine, and "E" is the color of youth (Tsvetaeva is only 23 years old).

The poem is bright, although the night is described. Only 3 vowels "Y" ("today", "golden", "daytime"), which denote black, gloom.

But the sound "G" tells us about the longing of the heroine, her sadness: "great City", "Chest to Chest".

The repeated consonant "T" ("wind", "meteT", "way", "blow", etc.) creates an atmosphere of coldness, inner restlessness, alienation.

There is a lot of tenderness in the poem. This is evidenced by the sound “N”: “Night”, “sleepy”, “thin”, “ringing”, “tower”, “shadow”, etc.

Tsvetaevsky's "In my huge city - the night ..." is written in a not very common in Russian poetry size holiyamb. The word "holiyamb" means "lame iambic" - in the last foot iambic (ta-TA) is replaced by trochee (TA-ta).

Aphoristically short monosyllabic words in spondei (accumulations of stressed syllables) following pyrrhicia (accumulations of unstressed syllables) are perceived as a verbal-rhythmic analog of a dot when reading a poem.

From a number of other authors, Tsvetaeva is distinguished by extreme sincerity, intolerance to patterns and rules, independence in views and assessments.She iswith rare sincerity reveals himself, his life to us.

The poetry of Marina Tsvetaeva requires an effort of thought. Her poems and poems cannot be read and read in between times, mindlessly slipping through the lines and pages. Even in the very first, naive, but already talented poems, the best quality of Tsvetaeva as a poet was manifested - the identity between personality, life and word. That is why we say that all her poetry is a confession!