The article presents the hypothesis that the method of a verse translation is determined by its dictum-modus potential expressed both explicitly and implicitly. The rhythm-syntactic level of the poem specifically organizes implicit content of the poem that is proved by a comparative verse analysis. The method of translation chosen by the author reflects dictum-modus potential of original texts and a unique style of the author-translator. This hypothesis is checked on the material of I. Bunin’s poem «Молодость» and its translation into English by I. Zheleznova “Youth”. The verse is studied as a special form of verbal organization that is not similar either to the piece of music or to the prose. The verbal form of the verse (determined by its composition, syntax and probably unique author’s characteristics) results in the necessity of implicit pragmatic information, while prose conveys to the recipient this extra linguistic information explicitly. Due to this fact, there are some specific forms and content peculiarities of the verse. The hypothesis of this article is that some line positions in a poem are “semantically strong” and others are “semantically weak”. “Semantically strong” positions are determined, on one hand, by the poem structure: this is the end of the line, stanza or the whole poem. This rhythmical structure is the semantic representation of a poem. The rhythm is capable of emphasizing the psychological verse content. On the other hand, semantically strong position is made by the syntax. The dictummodus comparative analysis of verse lets us speak about the dictum-modus potential of the original and translated poetic texts. The research interest is focused on the extra language categories of the poetic texts, expressed through the rhythmical-syntactic poem structures (strong poetic and syntactic positions), lexical-semantic repetitions of significant words. These language structures model the original text conceptual structures and are actualized in translated poetic texts. In I. Zheleznova’s translation the central poem image of youth created by I. Bunin according to the principal of contrast seasonal description is changed. In the translation there prevail the audial images expressing, probably, the translator’s autobiographical mood. The lyrical mood of the poem is expressed in the original through the strong positions (the end of the line and neutral order changes), also through poem content connections made by the lexemes.