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The paper is devoted to the late lyrics of E. A. Boratynsky (1800-1844), namely his final book of verses Twilight (1842). The question of how the motif of emptiness functions in this work is considered. The study of this issue uses the philological method of motifs analysis, as well as the possibility of hermeneutic and structural-semantic methods of research. It is shown that one of the functions of the motif of emptiness is that it appears as a property of objects of the immaterial world: emptiness is understood as the absence of value and cognitive meanings. The author considers the question of how these types of values are interrelated. The article demonstrates that the motif of emptiness is involved in the structuring of the artistic space of Boratynsky's book, and analyzes the idea of emptiness as a property of spatial images embodied in the book. It is shown that the image of the desert is one of the most significant in the book, in the article it is considered in relation to the image of the desert. In addition, in "Twilight" the idea of emptiness is embodied as a property of time, emptiness appears as characteristic of the individual-personal being of the sub-ject in the book of poems by Boratynsky, the motif of emptiness is ontological, since emptiness is correlated with the category of non-existence. The author shows that the analysis of the motif of emptiness allows us to better understand the essence of the romantic conflicts reflected in the book: the opposition of the poet and society, and at the same time, the internal conflict of the lyrical hero of Twilight. As a result of the analysis, the author concludes that one of the foundations of the artistic philosophy reflected in the work is the search for ways to overcome the emptiness- meaninglessness of being.

A particular aspect of the problem of interference of philosophy and literature is considered. This article reflects the results of the ongoing study of the problem of perception of poetry by E.A. Boratynsky in Russian philosophical thought. For the first time, an analysis of the reception of Baratynsky's lyrics in the works of Archpriest V.V. Zenkovsky and S.L. Frank is presented. The novelty of the study is seen in the fact that the stated problem is considered for the first time. The relevance seems to lie in the interdisciplinary nature of the research being undertaken. Appeal to the method of slow reading allows us to reconstruct two specific examples of the complex process of interaction between Russian literature and philosophy. Particular attention is paid to Zenkovsky's article "Philosophical Motives of Russian Poetry", as well as Frank's abstracts "The Meaning of Suffering", "On the Meaning of Suffering in Russian Literature" and his "Etudes on Pushkin". It is shown that both Zenkovsky and Frank saw in Boratynsky, first of all, a contemporary of A.S. Pushkin, a poet-philosopher who expressed pessimistic ideas in his work. At the same time, unlike Zenkovsky, who tried to define the essence of Boratynsky's lyrics as such, Frank turned to the poet's poems in order to determine the place of Pushkin in Russian poetry and, on the other hand, in order to express the provisions of his own concept of suffering more clearly.