The article is devoted to the identification and analysis of a number of linguo-stylistic and linguo-aesthetic characteristics inherent in the lyric texts of the poet Anatoly Gulak, which, as it seems, most clearly embody the features of the poetic speech thinking of their creator.This analysis is preceded by a brief examination of the phenomenon of poetic speech thinking – the creative intellectual activity of the artist of the word, which is actively comprehended at the present time not only by philology, but also by fields adjacent to philological science (psychopoetics, psychology of artistic creativity, etc.) in various aspects, as well as by the characteristic one of its types: seminal-seminal, actualizing the ability of the word to desemantizeandto acquire additional semes in a poetic context, including occasional-figurative properties. This type of poetic speech thinking, according to our observations, is most often embodied in the lyric work of A. Gulak, is illustrated by material from the poets poems (the cycle “Rainbow over the forest”), the generalization of the features of which made it possible to establish some individual stylistic features of the author’s manner. The analysis shows the priority importance in the lyrics of A. Gulak of tropes that are distinguished by a special character – syncretic in their essence: in the tropical constructions of the poet’s lyric works, metaphor and epithet, metaphor and comparison, comparison and epithet are combined. It is the functioning of this kind of tropes that largely ensures, from our point of view, the uniqueness of the individual author’s handwriting of A. Gulak, at the same time giving the verbal fabric of his works originality and uniqueness. The most interesting for consideration are tropes with a component – an artistic comparison, which are quite rare in modern poetry. Syncretic paths perform another important function in the poet’s works – compositional and aesthetic, during the implementation of which not only the linguistic material attracted by the author is organized into an integral semantic-associative system, but also the subtext layer of the lyrical structure is significantly deepened and expanded.