Abstract
The author of this article analyses the lyric poems by Vasyl Holoborod’ko published in 1999 and 2013 as the artistic principles to actualize the theoretical statements of Ivan Nechyi-Levyts’ky, displayed in the work The Worldview of Ukrainian People. The relevance of this article is conditioned by the need to thoroughly study the ethnographical treatises scrutinized to contemporary literary works, in order to widen the paradigm of novel literary analysis, particularly comparative. Therefore, the objectives of this article are to show the ways of the writers to reveal the interaction between man and nature, particularly using the animalistic (ornithological first of all) imagery. The base for this research is I. Nechui-Levyts’ky’s work The Worldview of Ukrainian People as well as lyrical cycles Ukrainian Birds in Ukrainian Landscape (excerpted from The Words in Needle-pointed Shirts, 1999) and White Indoor Plants (2013). The studies of Holoborod’ko’s verses with a bird for the standing-out image through the prism of ‘The Worlview…’ by Nechui-Levyts’ky showed the following. The interpretation of a folklore image is similar for both writers, and each of them would be free to choose the proper verbal form to embody it, should it be a scientific work or a rhymed narration. The different massifs of lexica (common words, terms, dialectal words, archaisms, onomatopoeias, neologisms) organically coexist in Holoborod’ko’s lyrics as the elements of a special artistic idiolect to create the unique ornithomorphic thesaurus (as T. Pastukh defined it) in every verse. What is the most important, this kind of lyrics is an evidence of re-creation of the unity between man and nature with a help of word, especially its internal form; I. Nechui-Levyts’ky tended to call it ‘pantheism.’ This fact opens the perspectives for further comparative studies of theoretical and artistic masterpieces within the framework of mutual complementation and enrichment of stylistic paradigms revealed in them.
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