In the article compares the masterpiece of Russian romantic lyrics and a modern pop-rock song by means of intertextual and motif analysis. The basis of their plot is the meeting of the hero with the Ideal and the results of this meeting. The main interest of the author of the article is focused on ways of adaptation of the plot of «high» classical poetry to the needs and demands of mass culture. Variations «on a theme»; the development of motives; playing with images; «grounding» and ignoring of philosophical and religious-mystical ideas are among these methods. Thus, Pushkin's «story», which is not localized in a space and time, is transferred by a rock musician into his own, real city – St. Petersburg, which, it should be noted, is always ready for the phenomenon of the miraculous. The religious and philosophical component is removed from the plot of «To***», but at the same time there remains a semi-mystical flair, emphasized by the very name of the song. The romantic opposition «ideal and reality», the two-world construction of the artistic space and the yearning for the ideal – Sehnsucht are kept. The hero of the «Vision» carries the erased signs of such a literary romantic type as «superfluous man». In the song, as a happy-end, the ideas of disappointment in reality and reconciliation with it are combined. A person of mass culture is alien and does not need strong passions, falling into the «abyss», «rapture» and «transfiguration», as well as the «completeness of being», which is difficult to achieve and requires constant spiritual work. It can be assumed that these methods and techniques of mass production and popularization of ideas and forms of classical literature are common and characteristic for the genre of popular song.
A. S. Pushkin, M. Leonidov, elite and mass culture, intertext, completeness of being, romanticism, genre of a popular song, history of the ideas.