Abstract
This article is devoted to the study of Maximilian Voloshin’s creative process. In particular, it notes that the imagery of the Lichiny (Images) section of the book Neopalimaia kupina (The Burning Bush, 1924) received further development in the multi-figured composition of the long poem Rossiia (Russia, 1924). The proof comes from the corresponding sections of a previously unpublished Voloshin’s workbook preserved in his archival collection.

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