Polyphonic lyricism as an aesthetic dominant of the poetics of E. Rostopchina's early works is described in the article. The first period of E. Rostopchina's works is connected with the development and recomprehension of the Romanticist traditions in her creativity, attempts to unite the achievements of the Russian and French Romanticist lyrics (A. de Lamartine, M. Desbordes-Valmore). Rostopchina's early poetry is analyzed in the unity of the polyphonic content presented through various genre and speech styles: folk songs, lyrical monologues, dedications, elegies, messages. The influence of the Romanticist esthetics is connected with lyric introspection: the lyrical heroine becomes the alter-idem of the author combining the literary image and the biographic basis. The chronological mark creates the conditional and biographic context that allows esthetic interpreting the event outline of a lyrical narration. The chronotope of this type of lyrics is notable for intimacy, its time is individualized and subordinated to personal memories of the heroine. Owing to such a constructive the dominant lyricism of the polyphonic type is formed. This type of lyricism supposes the initial internal leitmotivity and dialogism connected with the use of poetic epigraphs, creating a characteristic poetic context around her works. The aspiration to array life by laws of the novelistic aesthetics allows speaking about the elements of a novelistic plot in the lyrics of Rostopchina, about forming her own typology of heroes. The novel as a philosophical and aesthetic phenomenon, as a kind of a "life's genre'' deciding the poetess' personal destiny, the esthetics of life-building gets a parallel embodiment in her works whose inner plot is the author's life and love in their dynamics. The French Romanticist poetess Marceline Desbordes-Valmore had a great impact on Rostopchina's poetic formation. The influence of the French poetess on Rostopchina's works was not limited to direct imitations. The main motives and images of Desbordes-Valmore's lyrics, the character of her lyrical heroine are adopted and transformed, the transparent symbolical images are reinterpreted. The poetics of E. Rostopchina's early works is generalized at the end of the article. The most important feature of the poetics of Rostop-china's lyrics seems to be in extending the genre limits and in creating of the new synthetic texts combining the genre features of the message, the elegy and the romance. Due to the gradual transformation of the Romanticist genre canon the character of her lyrical heroine changes, too. Rostopchina does not only organically adopt the Romanticist themes, motives and images, but also carries on the dialogue with the Romanticist tradition in the first period of her creative activity.

Рассматриваются особенности полифонического лиризма как эстетической доминанты раннего творчества Е.П. Ростопчиной. Детально анализируются основные мотивы лирики поэтессы, ее жанровые особенности, поэтика хронотопа, дневниково-исповедальный тип художественной рефлексии. Предметом специального изучения становится вопрос о влиянии поэзии М. Деборд-Вальмор на раннюю лирику Ростопчиной.