The apocalyptic code of modernist poetry is studied on the example of the poem «The End of the World» by the Ukrainian modernist poet, a native of Lemkivshchyna Bohdan-Ihor Antonych, and a poem of the same name by a German expressionist poet of Jewish origin, a representative of the apocalyptic Aesthetic, socio-critical and eschatological functionalities of the apocalyptic code of modernist poetry are singled out, characteristic verbal practices are analyzed, the connection between lexical-semantic level and the level of poetic semantics is highlighted, mechanisms of formation are revealed, a detailed figurative-semantic, contextual and cultural-historical analysis of apocalyptic themes was carried out, the cultural-reference field of apocalyptic speech of modernism was determined. It is pointed out that expressionism subjects the religious apocalypse to a powerful reinterpretation, on the one hand secularizing the religious aspect, on the other – significantly expanding the field of reference by introducing signs and symbols of other cultures, beliefs, mythologies, and synthesizing a new apocalyptic vision space, does not claim the quality that was decisive for the Christian apocalypse. It is argued that expressionism transforms the apocalypse from eschatological inevitability into a capacious, semantically rich cultural code as a set of symbols and meanings, as well as their combinations, that through language (language of words, image language, language of spatial objects, language of acoustic and visual units) world. The formally and figuratively diverse, substantially, however, homogeneous poetics of apocalyptic visionary work developed in expressionism has been studied. It is established that 1) the apocalypse appeals to the elements, returns the world, in particular the world of figurative speech to the essential - water and fire, the thunder of heavenly heights and the roar of the earth's depths; 2) signs and symbols of culture are superimposed on natural elements, the latter is dynamized, the purpose of which is to calm them down, to involve them in the apocalyptic algorithm; 3) symbols and signs of culture lose the centuries-old stabilizing semantics and return to dull essence. Methods of textual, contextual, functional, poetic, semantic analysis, hermeneutic and poststructuralist methods are used. It is noted that Bohdan Ihor Antonych's «The End of the World» and Jakob van Goddys's «The End of the World» also solve socio-cultural and eschatological functionalities in different ways.