EMMA ANDIIEVSKA’S (UN)REPEATABLE POETRY, OR TWO COMPARATIVE SKETCHES

Abstract

Emma Andiievska’s poetic manner is quite experimental in modern literary milieu due to dense metaphoric imagology, daring alliteration, specific subject’s representation, cosmogonic transformation motive, etc., so it hardly correlates with European art styles (modernism and postmodernism in particular), albeit her early oeuvre (1950—1960) is being consequently considered as surrealistic one. It is also hard to outline stylistic and mental links between Emma Andiievska’s poetry and Ukrainian or European one since she has been moving in her art creativity strictly towards poetic originality. At the same time, the poetess’ works can’t be excluded from the world literary process — that is the reason for a comparative search. Some literary parallels have been found in Ukrainian (Bohdan Ihor Antonych) and American (Emily Dickinson) poetry. Both authors could influence Emma Andiievska’s poetic manner. There is a similar attitude to reality and own creativity in Emma’s Andiievska’s poetic oeuvre and Emily Dickinson’s one, caused by a desire for solitude and priority of the author’s subjectivity in the lyrical view. There are also some similar syntactic means in the poetics of both female authors. The poetic manner of Emma Andiievska’s works written in the 1950s—1960s also resembles Bohdan Ihor Antonych’s poetical style, represented in his collections “Salute to Life”, “Three Rings” and “The Green Gospel”. The two authors have a similar phenomenological focus of lyrical reflection, surrealistic metaphors, and acoustic mode of connecting words in an utterance. The childlike features of a worldview and oneiric elements of narrative in the literary works realize the surrealistic mode of writing attributable both to Bohdan Ihor Antonych and Emma Andiievska.