divided into five sections, though the poems were not part of specific cycles. Sections were of different lengths and dealt with death, love and poetry, love and remembrance, Russia and war, and wandering. Розы Пиерии (Roses of Pieria, 1922) contained 20 poems, written between 1912 and 1921. They were grouped into three sections which evaluated a lesbian poet in a stylized manner, comparing her to the original lesbian poet, Sappho, as a competitor for male lovers, and as alternative rather than competitor for those who were unsatisfied with more traditional roles of lovers of either sex. Much of the imagery used in the poems depicted symbols from ancient Greek mythology and evoke images of her loss of Tsvetaeva. Лоза (The Vine, 1923) contained 23 poems, which trace Parnok's life from her physical birth to her spiritual rebirth in Sudak. The poems trace her first awakening to poetry, her frustration at being unable to express herself as she wanted, the new ideas planted by Tsvetaeva, her failure to be able to write seriously without being distracted by love interests and life, and finally her recognition and acknowledgement that poetry was her true vocation. Her poems, were like her children, her legacy, requiring spiritual nurturing, rather than purely words inspired by sexual passion. Русалочка (The Little Mermaid (libretto), 1923). The libretto for the opera by Yuliya Veysberg was based on the fairy tale of the same name by Hans Christian Andersen. Музыка (Music, 1926) contained 33 poems, most of which had been previously published, which had been written between 1916 and 1925. The collection was dedicated to Tsuberbiller, though Erarskaya (known in the lyrics as Mashenka) is the most prevalent of her lover-muses in the collection. The unifying theme of music, with lyrics including instruments, musical phrases, performers, and sounds, charts the relationship of Parnok and Erarskaya from their first meeting to Mashenka's madness. Вполголоса (Half-Whispered or In a low voice, 1928) contained 38 poems and was dedicated to Tsuberbiller. Eighteen of the poems were written in 1926 and the other twenty were written the following year. The name, literally sotto voce, reflected the dark thoughts which had pervaded her life over the period, worries of isolation, madness, and death, sprinkled with a few rare lyrics of rapture and vigor. Алмаст (Almast, (libretto), 1930). The libretto for the opera was finished by Parnok in the winter of 1918. The prologue and epilogue