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The article is dedicated to M. A. Kuzmin's "Alexandrian Songs" (1872–1936) – a distinctive poet, prose writer, playwright, composer, literary critic, and translator of the Silver Age. He was closely associated with the World of Art movement and Symbolists, participated in the creation of the declaration "On Beautiful Clarity," and after the revolution, he found himself at the head of the group of "emotionalists" – Petrograd literary figures who were captivated by expressionism. The examined cycle is rightly recognized as one of the bright examples of free verse, refracting the idea of "beautiful clarity" in the early poetry of the author. The songs testify to Kuzmin's aestheticism, reflecting his fascination with the culture of Ancient Egypt, which is less popular than Greek and Roman antiquity but significant for understanding the role of classical art. The main emotional impulse for the emergence of the cycle was Kuzmin's visit to Alexandria in 1895, combined with historical and aesthetic ideas about this eternal city drawn from various sources. The methodology of this article is based on a comprehensive approach that includes archival and bibliographic, historiographic, cultural, and analytical methods. The work has repeatedly become the subject of reflection by many literary scholars (N. K. Volkenau, V. M. Zhirmunsky, J. E. Malmstad, and V. F. Markov, A. V. Lavrov and R. D. Timenchik, N. A. Bogomolov, G. S. Vasyutochkin, O. A. Ovcharenko, M. L. Gasparov and T. V. Skulacheva, L. G. Panova, O. N. Neganova, and others). At the same time, there is not a single musicological study dedicated to this composition. This fact determines the scientific novelty and relevance of the work. The author concludes that the cycle fits into the context of the search for a poetic-musical synthesis characteristic of the early 20th century. The melodic foundation of the songs is built according to the principles of speech intonation. At the same time, the miniatures revive the original understanding of lyricism as singing.