The article deals with the analysis of the lyrics of the modern poet Inna Alexandrovna Kabysh. It notes the role of idyllic pathos, the importance of the love motif, and the originality of the development of the “feminine principle” in poetry. Particular attention is given to the poetics of the poems: linguistic techniques, the specifics of the subject organization, ways of mastering “someone else’s” speech. The analysis of different levels of literary and artistic form allows concluding that the neo-mythological consciousness is fruitful in the poet’s work. The main feature of I. Kabysh’s artistic world is participation, which has its origin in the poet’s mythological (or rather, neo-mythological) consciousness. Kabysh’s poetry is characterized by a kind of “shapeshifting” (A.F. Losev’s term), where everything is connected to everything else and reflected in everything. Along with such fundamental attribute, I. Kabysh’s texts are also distinguished by other features characteristic of mythological consciousness. Particularly, as the analysis of the texts has shown, the author tends to reduce the most important binary oppositions, particularly those between life and death, and between reality and illusion. Taking that property into account provides a key to understanding the poet’s artistic world as a whole. Without such a holistic perspective, the meanings of the works become less expressive, and their pathos becomes schematic and one-sided.