"The article analyzes the phenomenon of “lingvoditseya”, which is crucial for understanding Marina Tsvetaeva’s artistic world. The term means the replacement of the divine nature by the poetic one when a word is equal to a deity. The analysis reveals the features of function of proper names and personal pronouns in their correlation with the author's idea of art in general. The analysis is based on one philological treatise “Art in the Light of Conscience”, which is significant for Tsvetaeva as a poet and a philologist. The article also explores the key categories of the poet’s artistic world, which include: art, good, creator, element, God, word, and, finally, the phenomenon of lingvoditseya. "Lingvoditseya" is defined through the reference to such concepts as "theodicy" and “anthropodicy" (according to P. Florensky). The article reveals Tsvetaeva's vision of ethical categories and norms, which allows identifying the features of function of ontological and ethical laws, important to Tsvetaeva. All categories are analyzed in their entirety and in correlation with each other. The article defines such general characteristics of philological treatises as a special role of the personal pronouns “I / me” and the pronouns “we / us”. The poet needs the pronouns “I / me” to express her own creative strategies, while the usage of the unifying “we” allows Tsvetaeva to outline her understanding of the elements of creativity and writing. We note the pronominal paradigm, such as “I / we” and “I / you”, where “I” or “we” is a poet, and “you” means a reader or a stranger. It is also necessary to emphasize the importance of proper names, whose transformations throughout the text enable Tsvetaeva to express her personal attitude and to form Tsvetaeva’s understanding of the word “poet”."