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The article deals with the comparative study of the poetics of figurative in various national literatures. This topic has not previously become the subject of special philological works, but the study of it in a comparative aspect based on the material of Russian and Tatar poetry is important. The actual basis of the article is well known works of Russian classical poetry and Tatar literature of the early 20th century. A comparison of the figurative devices has showed that in the Tatar lyric poetry, which goes back to the traditions of the Arab-Muslim cultures, the poets aimed to emphasize the idea of variability, incompleteness of everything existing, of human entity. And on the contrary, the idea of the triumph of God, that is at the head of everything that seeks a form, was spontaneously expressed in their literary works. A special role in creating a pictorial image is played by Sufi symbols (female curls, full moon, star), which gave rise to the semantic duality of the works of Tatar poets. The analysis of the figurative ekphrasis in a comparative aspect confirmed that it is not typical for the poetics of Tatar literature of the early 20th century, first of all, in its content that has developed in Russian and Western European traditions. Such feature of poetics is explained by the national identity of Tatar literature, its connections with religion which denied the idea to use words in order to plastically and sensually depict a work of fine art, for instance, a picture or a portrait.
