Discussions about “figures of thinking” in the representation of love experiences in Soviet literature of the 1960–1970s are understandably not indifferent to the question of those relatively universal visual means with the help of which love is depicted in world literature. For observations of this kind, for example, the works of A. K. Zholkovsky and Yu. K. Shcheglov, devoted to the description of the paradigmatic means of literary expression in terms of logic and metapoetics, are undoubtedly useful.