Maymakova A.
Candidate of philology, associate professor,
Kazakh national pedagogical university named after Abay,

Dautova S.
Master of Science, senior lecturer,
Kazakh national agrarian research university,

Kazmagambetova A.
Candidate of philology, senior lecturer,
Kazakh national pedagogical university named after Abay,

Lomova E.
Associate professor,
Kazakh national pedagogical university named after Abay,

Bagymbayeva F.
Master of Science,
Kazakh national pedagogical university named after Abay,

Abstract
Tsvetaev’s favorite punctuation mark is the dash, which creates the effect of a rapid change of close-up cinematic plans, as in the poem “Train of Life”: “The platform.// – And the sleepers.-// And the last bush// In the hand.”

In English, dashes have much more restricted functions. Translators often reduce their number or even replace them with other punctuation marks in order to avoid excessive artificial eccentricity of the poetic text.

In her poetry, she contrasts melodious verse, which contains anaphors, parallelism and a clear division into stanzas, with the techniques of colloquial speech, which is based on the logical and emotional division of the phrase.

In terms of the lexical content of literary texts, M. Tsvetaeva freely combines words of high style with colloquial and vernacular ones, and in the area of syntax, short phrases and long sentences, complicated by introductory constructions, coexist.

Syntactic transfers have increased expression in Tsvetaeva’s verse when poetic meter and syntax collide.

The originality of the intonation pattern of Tsvetaeva’s lyrics is determined by its highest degree of sincerity and confession.

English-speaking translators cite intonation as one of the biggest difficulties in their work with Tsvetaeva’s literary texts.

Keywords: the artistic world of the author, punctuation mark, syntactic transfer, cross rhyme, intonation.