Abstract
The article examines a peculiar feature of the poetry by Evhen Malaniuk — the poetics of reiteration (in various versions) of certain images and tropes. Particular attention is paid to the semantic nests: metal (primarily iron), fire, blood, wind, storm, haze, distance (especially boundlessness, abyss and their time equivalent — eternity). The intertextual, geographical, historical-biographical and autopsychological genesis of modified semantic signs has been considered. The image variability is characteristic for E. Malaniuk (as for A. Pushkin and T. Shevchenko); to a great extent Malaniuk is a variational poet. In addition to external intertextuality, his poetry is characterized by internal intertextuality: autoreminiscences, imagery modifications, variants of repetitive images and tropes. Malaniuk’s interest in Gothic architecture generated in his poetry numerous tropes (epithets and metaphors), based on the semantics of Gothicism. At the same time, the determinant feature of Gothic structures – elongation above – was widely transferred to the plant world and anatomy of man, similarly it was projected onto celestial sphere (visible from the earth), or served as the basis for building abstract spiritual, philosophical, historical and culturological images. Gothicism can be defined as the dominant of Malaniuk’s spirit and poetic thinking – the direction to heavenly heights on the level of the spiritual impulse, and the semantics of imagery. Malaniuk was fascinated by the Catholic Gothic architecture, directed toward the sky and expressing the human impulse to God. He regretted that this strict style was not extending to Ukraine; there Baroque with its rounded, low forms was prevailing. There is a high probability that the most common in Malaniuk’s poetry semantic nests were to a certain extent reminiscent of the poetry of T. Shevchenko, P. Kulish, P. Tychyna, M. Rylskyi, M. Zerov, representatives of the «Prague School» Yu. Darahan, O. Stefanovych, Yu. Lypa, as well as other poets (A. Blok, Ju. Tuwim).
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