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Aim. To investigate the linguistic and stylistic nature of Fet’s poetics and to create his axiological portrait within the framework of the linguistic-axiological scientific approach. Methodology. The works on the category of evaluation in the functional-semantic field (E. M. Volf, V. I. Karasik, T. V. Markelova), on the study of Fet’s poetic language (M. L. Gasparov, V. S. Solovyov, V. V. Vinogradov, Yu. Aikhenvald), and on cultural linguistics (V. A. Maslova) served as theoretical foundation of the research. Methods of componential semantic analysis, linguo-cognitive analysis, and linguistic-stylistic analysis of the verbal fabric of the poetic text within the paradigm author – poet – reader – addressee are employed. Pragma-stylistic analysis of the aesthetic sign and interpretative analysis are also utilized. Results. The worldview of a creative person is determined through the prism of their value system, which reflects the values of the culture in a specific period of social development. The intentions of a linguistic personality, aimed at cognizing the external world and evaluating it, analyzing the inner world and its emotional structure, are mediated through language in a cultural dialogue with art thinking. The realization of these intentions in the form of an axiological portrait of A. Fet, the iconic poet of the 1840s – 1880s, demonstrates a phenomenal synthesis of temporal, spatial, and emotional worldviews, with interacting concepts, keywords, imagery devices, and the specifics of the poet’s relationship to the world within them. The harmony of disharmony, the transformation of “non-evaluative” vocabulary into evaluative, and the technique of contrast are rooted in the poet’s life drama and reflect its features. Signs of evaluation / functions, pragmemаs, and connotations that interpret positive and negative meanings on the evaluative scale – play a special role in verbalizing poetic consciousness. Distinction between the aesthetic and the ethical, the emotional and the rational, the “ideal” and “everyday life”, which A. Fet “lived and breathed” in his lyrics with, is emphasized. This complements the linguistic worldviews with a contrasting organization of “dreary languor,” the impressionism of an “accidental half-sigh,” the half-sound and half-glance of poetic communication. Research implications. Based on theoretical data, evaluative classification, and a contemporary linguistic-stylistic approach to the text, the study identifies the specifics of a person’s linguistic worldviews that determine the emotional, temporal, and spatial paradigm of his expressive language. Its role in researching Fet’s legacy, that is the “magic field” of Russian poetry, a treasury of an “overflowing soul”, a “poetry not of completions but of aspirations,” created by the painter of the “secret night”, is proved to be significant for the study of the modern emotional-communicative personality (V. I. Shakhovsky). The attempt is made to reveal prospects of contemporary linguo-cultural study of Fet’s poetic.