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This principle seems to underlie the whole of Prismanova's work:time and again we see a shift in imagery when a thematical change occurs,while the basic oppositions remain intact. The pair of images"sluzanka" (telo)—"cyganka" (ten') of Ten* i telo transforms into"cinovnik" (kosf)—"kusnec" (krov') in Bliznecy.In this collection Prismanova develops into an 'imaginary' poetess.Original, funny and fairy-like is the dancing soul walking the tightropein undersized boots (10), the soul that has outgrown her dress (14) andthe dream walking about in seven-league boots (13). The image of thegypsy-woman is surely one of the finest in the collection: "Pjata ее vzole i zolotye/pustye busy v zolobe kljucic" ("Cyganka", 23).A highlight is also the poem "Razve pomnit sadovnik, otkinuvsijstekla к vesne", dedicated to Vladislav Chodasevic (27). Exceptionalthrough its anapestic foot, its closing stanza captures the essence ofPrismanova's outlook on life in this terse image: "Ved' i chram ne uslysit,как padaet telo sveci,/otdavavsej po kaple sebja na s"eden'emolitve."The structure of this collection is not yet as well thought-out as is thecase with her later volumes. Some poems have no title and the collectionis not subdivided into cycles, nor does it have an opening or concludingpoem. Most poems in this collection are dated and have been written inthe period between 1931 and 1936. (With the exception of the 1924"Zelenyj dvorik" (8) and "Napugany voron'im graem" (36), written in1929.) They have not been arranged in chronological order but accordingto content. For instance, the three poems containing references tothe poet Lermontov ("Nedolgovecna polnaja luna" (28), "Doroga"(29), "Najdja mesok nezdesnego dobra" (30)) have been groupedtogether although they were written in different periods. The openinglines of "Gobelen", written in 1936, seem to react directly to the openingof the preceding poem: "Ne oscuscaja sobstvennogo gruza", apoem composed in 1932.Bliznecy, Prismanova's longest collection, has a more rigid structure:an opening and closing poem embrace six cycles of equal length.In Bliznecy Prismanova employs the antithetical pair of images"krov'"—"kosf ", or, as she states in the opening poem of this collection:"kost' trezvosti i krov' ognja."There are frequent references to biblical imagery and parables, suchas the miraculous draught of fishes and the seed on the rock. The themeof the original sin is dealt with in "Zmej" (70) and "Jad" (71). Thesymbol 'blood' is replaced with snake poison (venom), which Prisma—