Образ моря в поезії українських неокласиків

Abstract

The image of sea in poetry Ukrainian neoclassical period of Executed Renaissance has important ideological and artistic importance, although these writers can’t be called the creators of the traditional marine genre. Sea as an independent object of image, as a motive or formative component appears in a relatively small number of their works of the 1920s and early 1930s – in sum it is about two hundred nominative representations which became the material of current research. Two levels can be defined in the artistic expression of the image of the sea by artists of «cluster of five»: mimetic, when the image is built in a literary text through mediation («apprenticeship» and intertextuality), and mnemonic, when it arises as a result of the realities of artistic development of sensory contact. The sources of internalization of the image of sea (folklore, national and world literary tradition) led to the following main contextual directions of its development: traditional Ukrainian, Greek-Roman, Polish and Czech, and Russian. We observed on the material of holistic analysis of marine segment in the creativity of Mykhailo Drai-Khmara that the image-concept «sea» matures and semantically emphasizes gradually, its content correlating with the national language and poetic tradition, and it is represented by the following semantic model: «spacious, quiet, serene / menacing , dangerous, invincible / mysterious, magical, majestic»; at the level of the internal form it appears in the works as micro image-stylistic device, and as an independent macro image; quite often relays lyrical experience of hero’s perception of the nature. We state the following main artistic and poetic ways of implementing nomen of sea in the projection on all original legacy of the neoclassical poets: sea as a direct object of image; component of comparison; component of paraphrase, component of parallelism, metaphor, allegory, symbol, mytheme and mythology. Epithets to the sea are following: «boundless», «abyss blue», «dull», «purple and endless», «blessed», «old Homer’s sea, fairy purple», «stormy», «strict», «gray, covered in mist», etc. Sometimes it is more or less concretized as hydronyms – Black, southern, White, western, tropical, Caspian, Hellenic, Pontus. Neoclassical image of sea is acquired, internalized cultural archetype, which markedly contrasts in the texts of organic for these poets archetype of the steppe, which by frequency of their use greatly exceeds marine topos, but literally fused with him. In this regard, in the context of a mature neo-classical formal and content status of the image of sea takes on a new fulfillment by which cultural, historical, philosophical and even geopolitical conceptual content can be read. Steppe and sea neoclassics define as outlook poles of one (aesthetic and being) paradigm, moving from steppe to sea is interpreted as «objectification» of subject in the world at all levels of its representation – personal, national, state. This spiritual and creative position of writers focused inparticular on marine eidos highly relevant today.