Ohionim of the Mother of God in poetic discourse of Taras Shevchenko

Abstract

The object of the proposed article is the Christian ohionim of the Mother of God in the poetic discourse of Taras Shevchenko. This proper name, together with the propriatives God, the Lord, forms the core of the sacredness of the studied texts. An indepth analysis of the “Kobzar” gives grounds to claim that its author was a deeply religious man who knew the Scriptures well and used it creatively in artistic practice. Evidence of this are the historical and philosophical poems “Mary” and “Neophytes”, in which biblical and secular motifs are organically intertwined, which is directly reflected in the level of verbalization (active use of Old Slavonic, God’s names, biblical expressions). On the basis of the theantropocentric approach, the peculiarities of the existence of the ohionim of the Mother of God in the texts of different genres are clarified. Up to the aim, a paradigmatic approach is used: all the names of the Mother of Jesus Christ recorded in the discourse are embedded in a nominative paradigm, each component of which (Mary, Mother, Mother of God, Mother Mary, Virgin, Immaculate, Queen of Heaven, Ever-immaculate, Good, All-Good, All-Holy, worthy, pure in wives, blessed in wives, great in wives mourning joy, holy power of all saints, our world unseen, my most glorious paradise, our beauty, world green, fragrant green lily) is characterized in terms of its semantic content and semantic specification, established correlations between them. A comparative analysis based on the semasiological procedure of the lexical resource that is part of the appellation and at the same time exists as a propriative unit was done. Special attention is paid to the connecting capabilities of the described ohionim, its ability to appear in the subjective, object, attributive function and thus to identify the features of semantic-syntactic valence. Episodes from the earthly and heavenly life of Mother Mary are clearly based on the valence pattern. The lexical-semantic compatibility of the theonym of the Mother of God with attributive modifiers in the form of agreed and uncoordinated definitions is comprehensively interpreted, their constitutive possibilities are clarified. It is proved that sacredness is one of the immanent features of Taras Shevchenko’s poetic idiostyle. Keywords: ohionim of the Mother of God, nominative paradigm, poetic discourse of Taras Shevchenko, syntagmatic resource, semantics.