Мовно-художня організація рубаї Дмитра Павличка: лінгвостилістичний вимір

Abstract

У статті розглянуто стилістеми різного походження, що є засобами вияскравлення філософських смислів у рубаї Дми- тра Павличка. Зроблено висновок, що органічним складником досліджуваних поетичних текстів виступають зображально- виражальні засоби фонічної (еквіфонія, метафонія) та лекси- ко-граматичної природи (антитеза, оксиморон, градація, па- ралелізм, антанакласис, подвоєння, редиф, анадиплосис, поліп- тотон, анномінація, хіазм). Ці стилістичні фігури сприяють якнайвиразнішій структурно-композиційній та мовно-худож- ній організації поетичного обширу рубаї митця.

The paper deals with the analysis of stylestemes of various origin which are means of eliciting philosophical senses in rubai by Dmytro Pavlychko. The author concludes that figurative and expressive means of phonic (equiphony, metaphony) and lexical-grammatical nature (antithesis, gradation, parallelism, antanaklasis, doubling, anadiplosis, annomination, polyptoton, redif and chiasm) act as an organic component of the studied poetic texts. Antithesis and gradation dominate among the stylistic devices implemented in the linguistic and artistic space of Dmytro Pavlychko’s rubai. And it is through the juxtaposition of the meanings of lexical units and their accumulation that the poet reveals his vision of eternal philosophical questions: the essence of life, the relationship between life and death, the struggle between light and darkness, relationships with a lover and a friend, a clean environment and a soul untainted by sin. The rubai and gradation are functionally loaded in the composition, realizing the stylistic potential in various shades of the poetic miniature. Antithesis plays an important role in the compositional organization of the artist’s work. Binary oppositions are represented in all structural components of a miniature verse work. Addition figures based on lexical-grammatical repetition are not distinguished by their activity in the artist’s cut. An integral compositional and semantic component of the context created in rubai is another figure of stylistic syntax – chiasm. To reproduce his philosophical reflections, D. Pavlychko also resorts to parallelism, with the help of which, through the comparison of the world of nature and social reality, he reveals the psycho-emotional state of the lyrical hero. These stylistic figures contribute to the most expressive structuralcompositional and linguistic-artistic organization of the poetic vastness of the poet’s rubai.