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Abstract: Nowadays the study of relationships between synonyms and antonyms is relevant in the literary context. This article considers the interaction between antonymy and synonymy based on a delicate semantic play in poetic texts by M. I. Tsvetaeva who is a courageous and talented experimenter over the poetic language. In this article analyzed the fragment of Tsvetaeva's famous poem «Toska po rodine», «Bezhit tropinka s bugorka...», «Sedina — v visok», «Gibel ot zhenshhiny. Vot — znak...». Tsvetaeva makes a semantic line between synonyms and antonyms mobile by means of actualization and deactualization some semantic features, comparing but not contraposing antonyms. Such mobility of meanings, their gaping plays an important role and helps to create a special emotional tension of poems. Lexemes of thematic group «zdanie, stroenie»: dom, gospital', kazarma («Toska po rodine…); zamok, saraj («Bezhit tropinka s bugorka...») M. I. Tsvetaeva involve in semantic synonymo-anthonymic game. In the first case, the synonymization of contextual antonyms accents the indifference of the lyrical heroine, but in the second case, emphasizes the romantic delight of the child's sense of the world. Tsvetaeva draws on the etymological meaning of the words ‘roznye’ and ‘raznye’ in the passage of the poem «Sedina — v visok». She does it to actualize the necessary semantic nuances. In the excerpt from the poem «Gibel' ot zhenshhiny. Vot — znak...» contextual antonyms Serafim and Orlionok become are synonyms, which specially are split by dash into different poles of the semantic space.