Українська любовна лірика початку ХХ століття: фольклорні інтенції модерного тексту

Abstract

На матеріалі поетичної творчості авторів «Молодої музи» (Б. Лепкого, В. Пачовського, П. Карманського) та «Української хати» (О. Олеся, С. Черкасенка, Г. Чупринки) розкрито художні особливості любовної лірики початку ХХ ст., виявлено елементи фольклорної поетики в модерному тексті, диференційовано фольклорні та модерні інтенції поезії кохання і з’ясовано специфіку їх функціонування. На основі аналізу та систематизації поглядів українських і зарубіжних учених на жанрову природу лірики як роду з’ясовано й уточнено значення терміну любовна лірика, а також диференційовано поняття лірики інтимної, любовної та еротичної. Для виявлення в авторських текстах слідів фольклорної поетики досліджено мотиви, образи та зображально-виражальні засоби пісень і балад про кохання. Встановлено, що ці народнопісенні жанри стали головними джерелами для розвитку модерної української любовної лірики. Доведено, що загалом любовна лірика «молодомузівців» і «хатян» містить риси як традиційної (фольклорної), так і модерністської поетик. Зауважено, що любовна поезія «Молодої музи» в цілому має песимістичне звучання, натомість любовна поезія «Української хати», попри наявність мінорних нот, у цілому є значно оптимістичнішою.

In the dissertation artistic features of the love lyrics of the early twentieth century on the materials of poetic creativity of the authors of “The Young Muse” (B. Lepkyi, V. Pachovskyi, P. Karmanskyi) and “The Ukrainian House” (O. Oles, S. Cherkasenko, G. Chuprynka) are investigated. The scientific novelty of the thesis consists in the fact that the Ukrainian love poetry of the early 20th century is firstly analyzed in it. In particular, motifs, artistic images and figures are analyzed, folklore and modern intensions of love lyrics are differentiated; specific of functioning of folklore elements in modern poetry is clarified. In the thesis theoretical and methodological approaches of Ukrainian and foreign literary critics in studying of genre specificity of lyrics as a genus of literature are analysed and systematised. It is found out that love lyrics is a type of intimate poetry in which all range of motifs, feelings and experiences related to a love feeling (happy or unrequited) between a man and a woman is reproduced. It occupies an intermediate place between intimate and erotic poetry for frankness of figurative representation of lyrical heroes and emotional tension in depicting of their desires. In the scientific work history of critical and literary reception of love poetry of early 20th century is explored and its insufficiently investigated aspects are revealed. The attention is focused on scientific reflection of poetical works of the most talented poets of “The Young Muse” and “The Ukrainian House”, who are considered to be forerunners of European Modernism in the Western and Eastern Ukrainian lands. It is established that folk songs and ballads about love have become the main sources for development of literary love poetry of the early 20th century. Motifs, images and poetic style dominants of love songs and ballads are investigated for identification of traces of folklore poetics in author’s texts. It is proved that a figure of a lyrical heroine is an artistic typing. Songs and ballads about love give also a certain psychological characteristic of a lyrical heroine. She is a bearer of the typical mental traits of the Ukrainians. It is concluded that in general poetics of love lyrics of “The Young Muse” have traits both traditional and modern. We perceive a folkloric basis of love poetry in the use of folk-song images and artistic means of representation, the appeal to folk mythology and traditional folklore symbolic, domination of meditation and minor emotional tone. Modernism manifests itself first of all in exoticism, decadence aesthetics of suffering; author's interpretation of traditional symbols; creation of aesthetically unusual images, metaphors and comparisons; contextual symbolization of mythological characters; a transition to internal self-reflection; immersion in thoughts, memories and feelings. In the dissertation motifs, images, art and style dominants of poets of “The Ukrainian House” are investigated. It has been proved that the folk-song motifs, images and symbols; traditional accents in the image of a female portrait (poetic clichés) and character (features of national character), minor intonations (a sad elegiac tone) - all of that became the folk basis of love lyrics created by “khatyans”. Poetic Modernism is manifested primarily in the artists’ desire to separate themselves from reality and create their own imaginary world, in author’s interpretation of folklore symbols, in using of a bible symbolic, attempts of an individual symbol creation; in appeal to mythological images; psychologism; aestheticism; in the transition from the presentation of facts to the reproduction of their emotional perception (associative symbolist thinking). Symbols have occupied a special place in literary creation’s structure and they have become the main indicators of digressing of folk traditions toward the European Modernism direction.