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In the article comparative analysis of works is held, substantiated by the influence of A.S. Pushkin on the creative life of N.V. Gogol. While examining the purity motive, linguistic markers of the text precedent are investigated, including adverbs as aesthetic units that are relevant for the text integrity, as they are able to accumulate sense capacity and participate in the creation of the emotive field.

The poetic song of Bulat Okudzhava «Vanka Morozov» is regarded as an early manifestation of the poet’s self-determination in the context of the romance tradition. Juxtapositions with the genre thought to be the source of the poem (urban romance), with the parody and stylization of romance in the literature of the XXth century are given. The genesis of the key images and motives is traced. A new interpretation of the romance poetics transformation in Okudzhava’s poetry is offered.

The article studies the motif of waiting for game situation that often occurs in the story-line of the XIXth century Russian comedies, gives ground for its essential importance for the plot-building and creating the characters of the plays, points to the connection of this intertextual situation with the reality of the Russian society, its social, moral and psychological climate.

In the article Gogol’s «Evenings on a Farm Near Dikanka» and «Mirgorod» are studied in terms of the interaction and development of two motives – the motive of the bewitched place and the motive of strange transformations. From this point of view the cycles’ consecutive ideological correlation to «Arabesques» is also outlined.

Okudzhava’s poem is regarded in the context of the classical poetics of rose, in the background of the traditional situation «farewell to the lira». The parallels with Pushkin’s, Batyushkov’s, Boratynsky’s and Khodasevich’s poetry are drawn.

The author of the article singles out the main problem of Bulgakov’s tragedy which is a distinctive feature of his plays as well as of epic compositions and of his personal world-view. The author claims that the main profound conflict in Bulgakov’s works turns to be the collision of fortune and fate generally presented in the world literature from Ancient Greeks to our days. The researcher emphasizes some special traits of Bulgakov’s stories of 1930s such as deceptiveness of fortune, prediction of the denouement in action.

The article reveals problematic and thematic correlation and associative links that appear on the motif level between B. Okudzhava’s prose and poetry within the framework of the Decembrist problem range.

The article dwells on the artistic functions of hearsay and fame in the plot of N. V. Gogol’s novel Taras Bulba, on their internal link with the folklore tradition. The cultural and historic essence of Zaporozhye Rada is considered; the analogies with the text of the novel are drawn.

In the article Petersburg stories are analyzed in terms of the motive of the steadfast gaze. The process of visual «completion» of reality by Gogol’s characters is described.

The article considers the motive of rumor in its spatial and time expression based on the cycle of «Evenings on a Farm Near Dikanka» by N. V. Gogol. The stylistic functions of the rumor motive in the novels’ plots and the internal link with the folk tradition are researched.