Abstract: (Poetry & ontophony) The work Poetry & ontophony invites to reflection within and beyond the semantic landscape of lyrical text. It invites to define a core-concept, ontophony, which resonates with others, underlying, such as meaning, figuratively, sonority, being, surrealism, orphic, correspondence, repetition, discontinuity, onomatopoeia etc. Modern poetry allows a subtle positioning at the edge of textual matter. It becomes an edifice of the inability of language, of speech, to capture the multifaceted profile of reality. From a heterogeneous lexical material, often prosaically used, emerges, at some point, that early blade of grass, that window through which the reader is allowed to breathe the air from the lemon orchard. He will forget what inadequate semantic matter he went through, will forget what lexical spectrum he was forced to traverse, because there is that point, sensitive, where the poem begins to breathe on its own, like a lung. That's where the ontophony begins. That is the stylistic field of freedom and, possibly, of surrealism. As readers of poetry, we are looking for forms of comprehension, a way out of mental and cognitive stereotypes, a disconnection from the much-circulated linguistic layer, which no longer allows breathing. If we take as a quasi-law of poetic texts functioning, generally, the fact that they function as a lung, then it is possible that, through interpretive journeys, we reach those textual correspondences, those mirrored dialogues, between texts subsumable to the same theme. For example, corporeality indices function as universals, making possible the approach, transfer, and, ultimately, dialogue between texts that, apparently, at first glance, have nothing in common.