Pronouns as a means of naming the most important components of lyrical communication — the subject and the addressee — are often subject to various kinds of syntactic nominations, such as segmentation, isolation, addition, parceling, parenthesis and usage in the position of address. The object of this paper analysis is a reduplication of pronouns, that create a segmentation of a poetic utterance, similar to the construction of “nominative representation” described by A. M. Peshkovsky. The syntactic reduplication of a pronoun leads to the functional-semantic actualization and intonational- rhythmic underlining of pronoun lexemes and fi gurative “roles” (associated with them), remaining the plural reference that is typical for a lyrical deixis. Segregation of a pronoun to a special syntagma, accompanied by a prepositional union, usually coinciding along its borders with a poetic foot, allows the reader to focus on the subject, addressee or another object of poetic refl ection and fi gurative conceptualization. The pronominal constructions that are subject to various types of syntactic isolation in the process of building a lyrical utterance have a rich functional palette. They act as a means of authorizing and dialogizing artistic discourse and create the effect of “self-separation” (“self-justifi cation”) of the lyrical I, the second semantic plan and implication, serve as a means of cohesion, segmentation and rhythmization of the poetic text, enrich it with intonations of a live, spontaneous speech flow.