The antithesis has been one of the stylistic devices that plays an important role in expressing the semantic contrast and clarifying the descriptive distinction in a literary text. The things and events of nature and of any society are, by their very nature, contradictious and reversible. Discovering the antithesis in a literary genre on the basis of this natural phenomenon, in the other words, on the basis of some peculiarities of a natural paradise described by any autor, is explicity and implicity connected to the series of events or episodes that leads from begining to end of the text. In this case, revealing the antitesis in a literary text would have a double role in expressing the writer’s own point of view, his or her valuation on and approach to the outward things and events, his or her ability to imagine and his or her skill to describe the natural paradise in his or her writing, and the mode of his or her thinking. The antithesis being revealed and observed in the texts of Mongolian literary genres have been framed into three main categories:first, the antitesis related to the outward things, events and people’s lives, and their changes and alternatives which are naturally dependent on the circles of the seasons; secondly, the antitesis related to the pecularities of natural regions and geographic zones, the conplict in the people’s lives and its incidence of development during the endless cycle of the seasons; thirdly, the antitesis connected to the essence and state of any pairs of things and events of nature and the ways people and animals live and fight. In this article, the above montioned three categories of antitesis illuminated by description of a natural paradise or a setting in a literary work have been analysed separately with each of its peculiarities, usages, differences and similarities on the basis of the facts of literary genres of Mongolian writers.