The article is devoted to the consideration of the motive of hope, which is not obvious to the poetry representatives of the “Paris note”. A study of the poems of B. Zakovich, Yu. Mandelstam, P. Stavrov, Yu. Terapiano, I. Chinnov, A. Steiger in the framework of the historical and literary approach with the inclusion of motivational analysis allows us to state that along with the development of the motivational-thematic complex of despair, the meaninglessness of existence, restlessness, one of the unifying moments is the lyrical balancing on the verge of hopelessness and hope, which allows reaching the "last words" about man and humanity, as the creative super-task that G. Adamovich, the mastermind "of the Paris music", set before Russian novice exile-poets in the 1930s. The analysis of poems made it possible to identify several types of disclosure of the motivational antinomy of hope and hopelessness in the lyrics of Russian Montparnasse. The first one is the motive for the loss of hope and the establishment of a state of despair as the only truth about a person in a situation of exile. The second one is the rejection of futile hopes as illusions in favor of hopelessness as spiritual sobriety and the stoic form of acceptance of life as such. The third one is the motive of hope for gaining hope from the depths of descent into despair as a belief in the ability of the human spirit to touch existential truth as opposed to the nonsense of existence in history. The forth one is the paradoxical connection of hope with the memory of the motherland as a life-giving source of meaning, opposing the hopelessness of the exile. The fifth one is the affirmation of the possibility of a miracle of gaining hope as a meeting with God and the restoration of the trinity of faith, hope and love in a single spiritual experience of a person.
Paris note, motif, G. Adamovich, B. Zakovich, Yu. Mandelstam, P. Stavrov, Yu. Terapiano, L. Chervinskaya, I. Chinnov, A. Shteiger