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This work examines the little-known facts from the life and creative heritage of one of most reputable Crimean Tatar populist poets of the XX century Hasan Chergeyev. For revealing the semantic and linguiso-stylistic peculiarities of his works, namely of the poems &amp;ldquo;Listen to What the Dead Man Says!&amp;rdquo; (&amp;ldquo;E&amp;#351;it, mevta ne sevleyur!&amp;rdquo;, 1909) and &amp;ldquo;Fate&amp;rdquo; (&amp;ldquo;Taqdir&amp;rdquo;, 1917), the author carries out comparative typological, semiotic and textological analysis of the original texts. The strategic approaches towards depicting the authentic, dramatic episodes from life of the people and the clergy employed by the poet are analyzed. The phenomenon of the impact of the idea, theme and storyline upon the structure of his poems is revealed. Lateral thinking, specially selected methods for representation of life material turn the lyrist's poetic works into living canvases. They reflect the depth of inner emotional experiences of the title characters, reveal the natural flavor of ethnic language, and demonstrate the energy, power of his style. At the same time, the article outlines the prospects for studying publicistic activity during the prewar and wartime within the Crimean Tatar Soviet periodicals.	

Semiotic and linguo-stylistic aspects of the poems by H. Chergeyev “Listen to What the Dead Man Says!” and “Fate”