The article deals with some theoretical issues of the poetics of the Chinese yuanqu poetry and discusses its means of artistic expressiveness, both traditional and unusual for the classical poetry of China. The emphasis is placed on the unusual ones, since they have not been specifically investigated in Russian sinology. Such means can be highly relevant for specialists who are engaged in translation of yuanqu works into Russian. The author discusses several specific compositional constructions and rhyme patterns occurring in the verses of this genre. Не gives a classification of the most significant specific techniques, characterizes them and illustrates by examples. At the same time, the author shares his views concerning their translatability into Russian. Taking into account the phonetic peculiarities of the Chinese language (in which different parts of speech can have the same final sounds), and also taking into account the fact that the rhythmic pattern of the yuanqu could be conditioned by the melody of the musical accompaniment (with many melodies lost by now) the author suggests that there is no need to seek Russian equivalents for every phonetic device, especially if there is no longer original yuanqu music to set it to.