This paper presents a case study of the subjective structure in the lyric poetry of Tatar authors from the first third of the twentieth century (Kh. Taktash, Kh. Tufan, and A. Kutuy) to identify forms of subjective organization and types of authorial consciousness. The study establishes that despite the unifying tendency prevailing in Tatar literature during the late 1910s and early 1920s, the examined poetry exhibits diverse types of authorial consciousness. Specifically, modes of romantic consciousness in Kh. Taktash’s poetry are identified: the lyrical “I” of the gissianist who rejects the existing world order, and the romantic “I” who constructs a fairy-tale world. Additionally, the development of authorial consciousness in Kh. Tufan’s works is examined, transitioning from a tribune involved in the industrial transformation of life in the mid-1920s to the lyrical “I” typical of his love poetry from the late 1920s to early 1930s. Furthermore, the dominant authorial consciousness in A. Kutuy’s poetry is identified as the “I” of a poet who rejects past religious, aesthetic, and moral values in favor of a new paradigm. These distinct types of authorial consciousness are expressed through various subjective forms: the impersonal subject, the lyrical “I,” the collective “we,” and the lyrical hero. Finally, the study outlines the literary, biographical, and cultural-historical factors shaping the specific expression of authorial consciousness in the works of these three poets.
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