The article examines Mandelstam’s unrealized project «Seven Poems» (1930 – 1931). A hypothesis of a cyclic nature of this group of poems, of their imagery and thematic integrity and correlation with other Mandelstam’s cycles is formulated.
The article traces the evolution of J. B rodsky’s poetics driven by the desire to ‘be free from emotional sensitivity’ on the example of the poems The Letter in a Bottle (1964) and The New Jules Verne (1976). The transformation of the poet’s artistic manner is considered through the aesthetic categories of the tragic and the sublime.
