The article analyses a late version of one of A. Fet’s poems included in the genre-thematic section "Melodies". The study focuses on the techniques used to organise the figurative semantic structure of the text, i. e., the phenomenon which can be called the "music of meaning". The methods of linguopoetics (to identify the aesthetic role of linguistic units and the relationship between content and form) as well as elements of opposition, motif, contextual, and componential analysis were employed. Using them, the author examines the main aspects of the structure of the poem (composition and development of the lyrical plot, key semantic fields and oppositions, spatiotemporal and subject-object organisation). Meticulous attention is given to the analysis of the lexico-semantic level and the "grammar of poetry" of the text. It is concluded that the understatement and linguistic uncertainty characteristic of A. Fet’s poetics in general and the poem being analysed in particular increase the associative potential and enable an ambiguous understanding of the text. This contributes to the multidimensionality and the absence of distinct definiteness of the key images and oppositions, which brings poetry and music closer together ("the music of meaning" and the meaning of music).

The concept of partingin John Donneʼs love lyricsMariana Markova, candidate of philological sciences, associate professor. Drohobych Ivan Franko State Pedagogical University, Department of Ukrainian Literature and Theory of Literature, associate professor. markmar29@gmail.com, ORCID: 0000-0002-3161-5476.The article offers an analysis and interpretation of the concept of partingin the love lyricsof the English Baroque writer John Donne (1572–1631). It has been stated that this concept occupies a prominentplace in the thematic and ideological framework of the poet’s collection “Songs and Sonets”—being most notably represented in John Donne’s well-known “valedictions”: “A Valediction: Of My Name, in the Window”, “A Valediction: Of the Booke”, “A Valediction: Of Weeping”, and “A Valediction: Forbidding Mourning”. This concept is also developed, in one way or another, in such poems as “Song (Sweetest love, I do not goe)”, “The Expiration”, and “The Computation”. It has beenalsosuggested that, considering how frequently John Donne turns to artistic elaboration of this concept, it held significant importance for the English author. The writertreats the act of parting in an unconventional way —as something entirely natural and even necessary for thedevelopment of any romantic relationship, something that poses no threat to those who truly know how to love. At the same time, the poet does not deny the deeply traumatic experience of separation for lovers. Thisis why the concept of partingis consistently realised in his love lyrics through the rather traditional cognitive metaphor of“parting as death”. This metaphor often becomes especially prominent in John Donne’s poemsthrough various semantic parallels and connections with other artistic structures. In some cases, the entire text of the poem serves merely as an explanation of this metaphor —in such cases, thistrope plays a meaning-forming role, serving as the foundation and impulse for the unfolding of the lyrical plot or situation. A particular variation of the cognitive metaphor “parting as death”is John Donne’s metaphor “parting as sleep”, through which the concept of partingis presented in the poem “Song (Sweetest love, I do not goe)”. Such an understanding of death as sleep was, in general, highlycharacteristic of Baroque literature and, therefore, seems entirelyorganic for John Donne, posing no conflict in interpretation.Keywords:John Donne, cognitive metaphor,concept,love lyrics, “Songs and Sonets”, parting

In modern literary criticism a problem of study of work of Ukrainian sixties, in particular intermedial components is actual. Papers of scientists testify that Ihor Kalynets’s lyric poetry offers a rich material for a researcher. The aim of the paper is illumination of literary-picturesque correlations in a verse “Naturmort”. The intermediate-comparative analysis is used. Composition of picture of the Ukrainian artist that chose the middle scale of image is analysed, it allows to draw detail elements. First strophe of verse “Naturmort” passes syncretism nature of picture, that contains the elements of interior, landscape and actually of still life. “Congestion” of “heroes” of this linen is felt, but a picture is not overloaded semiotic. Every element is called to establishment of equilibrium and harmony. The same intension is translated by the I. Kalynets’s verse: at the beginning of work an epithet “comfortable” is repeated three times. The techniques of “picture within a picture” and “refrain without refrain” are analyzed. The further development of the lyrical plot leads to the opposition “nature mort” vs “still life” (“dead nature” vs “still life”). This antonymic pair can be read through the prism of the dichotomy of “eros and thanatos” (love, happiness and death, destruction). I. Kalynets chooses eros and rejects thanatos, which speaks volumes about the worldview dominants in his life, about the remarkable willpower of a prisoner of conscience, the ability to see and honor life in all its manifestations. It is concluded that the poem contains formal and genre features of the riturnel and triolet. Reflections on I. Kalynets's philosophical and intermedial intentions in the poem “Naturemort” are summarized by the idea that for the poet, the feeling of harmony in the soul, love for life, which naturally develops into a desire to harmonize the environment, are organically true. The “still life” prevails over the “dead nature”.

The article sets out to explain the complex subtexts of Celan’s ‘Death Fugue’ by analyzing the poem’s artistic history, poetics, style, leitmotifs, and reminiscences. Protagonists of the lyrical plot stand out as the ‘chorus’ (‘we’) of singing and dancing Jews and a ‘master,’ or ‘capellmeister,’ (‘he’), recognizable as the commandant of an extermination camp as well as the ‘death, a master from Germany.’ ‘He,’ ‘death master,’ whose whim decides the fate of the chorus, is portrayed as a typical Aryan: he has blue eyes, writes letters to a golden-haired Margarete in Germany, and, just like Nietzsche’s Zarathustra, plays with snakes. A fine connoisseur of music, ‘he’ orders the chorus to ‘play death more sweetly.’ In the German historical-cultural context, the word ‘master’ is associated with honest mediaeval artisans and denotes the ultimate praise of their excellent craftsmanship. From a Bach fugue to a death fugue — such is Celan’s aesthetic-philosophical description of the monumental spiritual degradation suffered by the great German culture under the Nazis. Also in focus are the poem’s biographical allusions, including a reference to the name of the poet’s mother, shot in transit to a concentration camp.

The main purpose of the article is revealed in the discussion of the problem of terminological attribution of the concept of lyrical eventfulness. Researchers do not find a single basis for determining the nature of lyrical eventfulness. Questions remain debatable: can terms that are conceptually associated with a narrative prose text be «adapted» to a lyrical text? Does their volume / content change in the case of instrumental use in the analysis and interpretation of a lyrical text? What methods should be used to study the structure of a lyrical event if the subject of study itself is a matter that is difficult to describe? The article notes that in the practice of analysis and interpretation, the terms lyrical plot, lyrical eventfulness, lyrical plot acquire a content content that is different from prosaic eventfulness, associated with the lyrical nature of the text. The nature of lyrical eventfulness is revealed through eidetic expression, which entails a different axiomatics in the formation of its semantic meaning. Theoretical principles applied in the aspect of a phenomenological description of lyrical eventfulness are revealed using the example of a poem by A. Akhmatova.

This article is devoted to the problem of cultural identification of B.Yu. Poplavsky. The need to create and solve this scientific problem is due to the fact that the community has not yet formed a unified view of his work, which is distinguished by its eclecticism. One of the most controversial issues related to the study of B.Yu. Poplavsky is the following remaining question: the relevance of classifying the poet as a surrealist. The purpose of the article is to define and substantiate the cultural identity of B.Yu. Poplavsky, taking into account different points of view on the problem posed - from the poet’s contemporaries to the present day. Using the method of comparative analysis, the author of the article examines the aesthetic attitudes of B.Yu. Poplavsky, relying on the poet’s diaries and his critical articles, where he sets out his views on creativity, as well as on the memories of his contemporaries about him and his views. Implementation of aesthetic goals of B.Yu. Poplavsky is demonstrated on the material of the poetry collection “Automatic Poems”, which is difficult to analyze and has not been studied from such a perspective and volume before. Considering this collection as a complex aesthetic whole, the author of the study comes to the conclusion that B.Yu. Poplavsky, thanks to the refusal to detail the lyrical plot and the lyrical hero, achieves the effect of derealization that the surrealists strived for, while the Christian content of the images reveals the poet as a successor of the Russian symbolists.

This research work was carried out within the framework of a relevant scientific field related to the study of local texts in national literatures. The article presents a study of the local text defined by the concept locus, namely, a philological analysis of the ‘Chukot text’ in modern Mari lyrics. The research material is the Chukot cycle of poems by Gennady Oyar ‘Northern Flashes’, created in the Mari language, with the involvement of authorized translations into Russian in some cases. The paper uses the techniques of contextual, conceptual, and structural-semantic analysis of local texts. The author of the article considers artistic techniques and means relevant to the formation of the ‘Chukot text’ (toponyms, specific natural phenomena and images, landscape, objects of vital activity and signs of national life, material and spiritual culture, folklore and mythological images and motifs, individual linguistic inclusions). Within the framework of the stated problem of ‘Other/Self’ in the author’s worldview, a set of consistently realized motives (expectation, fear, discovery, surprise, admiration, rapprochement, acceptance, recognition of kinship of souls) that make up the lyrical plot is studied; principles and techniques of inclusion in the ‘Chukot text’ of the Mari world, nostalgic notes and author’s reflections are studied. Chukotka through Mari. The author’s ‘myth’ about Chukotka as a cultural space of the northern people, characterized by extreme natural conditions, the ontological and at the same time heroic essence of people who preserve their mythology and traditions, is investigated; it is proved that the knowledge of the ‘Other’ allowed the Oyar to truly appreciate his ‘Self’ and establish himself in the Mari ethno-identity.

This paper examines visual imagery and lyrical plot in Yuri Levitansky’s poem ‘Drawing’, which is part of his cycle ‘Katerina, or Walking with Faust’ (1981); it analyses in detail how the visual image of the artistic world is constructed with the help of verbal means. Moreover, this depicted world is doubled, as there is the reality of the poem itself and the reality of the picture created in this poem. To analyse the plot, we consider the subject and spatio-temporal structures of the poem, as well as the situation, the event and the system of motifs. The lyrical plot is constructed as first a drawing and then a reflection on one’s own drawing and its understanding by the lyrical subject. Hence the need to consider the lyrical plot in relationship with visual imagery in this poem. The great importance of visual imagery is due to the title of the poem, which refers the reader to the need for visual perception. Visual imagery is related both to the process of drawing (color, outline, reflection, etc.) and to looking at the drawing. This image is a drawing, but the drawing is created and described with the help of words, thus combining poetry and painting. author’s strategy of vision, the reader, relying on the verbal component, must engage his visual imagination. In addition, there is a double recoding: first, a visual image of the drawing is created with the help of verbal means, and then this visual image is interpreted (again, with verbal means). The reader is requiredto use his or her imagination to ‘see’ the drawing created by the lyrical subject and to realize the subject’s understanding of it. That is, following the author’s strategy of vision, the reader, relying on the verbal component, must engage his or her visual imagination.

The article examines the title formula “the cherry orchard” in Roman Tyagunov’s poem “Nobody is guilty of anything…”, which goes back to Chekhov’s last play. Like many formulas of this kind, formulas taken from the titles of classical literary texts, this formula has largely lost its semantic connection with the source text - Chekhov’s comedy - but has become an independent formulaic text in subsequent culture, a cultural cliché with its own meanings, which often depend on the contexts where the classical formula falls. In Tyagunov’s poem, the formula “the cherry orchard” is associated with the interaction of the subject (who, given that the poem in question is part of the cycle “Poetry of Suicide. Farewell Verses”, can be designated as a role-playing subject) and the addressee. The grammatical forms of their explication allow us to conclude that the subject is a man and the addressee is a woman; and their relationship is based on the fact that the cherry orchard donated by the addressee is destroyed by the subject; or the addressee gives a new cherry orchard to the subject in exchange for the cut down one. But in any case, the conclusion suggests itself about the special role of the cherry orchard in structuring subject-address relations; the formula under consideration acts in the poem as a motive thatforms the lyrical plot, which, as is known, is built on the interaction of the chorotope and the subject structure. In culture, the formula “cherry orchard” is a nomination of a place associated with a happy past that is gone forever, that is, it acts as a strictly chronotopic motive. In Tyagunov’s poem, this cultural cliché, being realized in the relations between the subject and the addressee, forms the artistic transmission of the author’s emotion, which is based on saying goodbye to life of one’s own free will.

In the song folklore of the Crimean Tatars, the most extensive and widespread are love songs, among which a special place belongs to songs of sad love. One of the most typical examples of such folklore works is the song “Whiter than a Silver Thread”, considered in the article. In its figurative and compositional structure, in its artistic symbolism one can perceive a consonance with intricate folk ornaments. The authoress of the article examines the peculiarities of the verbal and musical poetics of this song. In particular, she pays attention to the characteristic features of its lyrical plot and versification. Structural and compositional complexity and sophistication, lyrical expressiveness reaching almost an epic scale, the true-to-life and symbolic eloquence of laconic figurative details, the spectacular sound organization of stanzas (a combination of predominantly blank verse with a wealth of internal consonances and echoes) are typical features of this folklore work. All this is subordinated to rendering the deep feelings of an unhappy lover, who is dejected by the bitterness of dramatic life circumstances. The music of this song is no less refined than the poetry. It is characterized by a smoothly flowing, mournful melody. This melody is invariably interspersed and enlivened by short chants, which are more dynamic. Such chants are very characteristic of oriental melodies. In this case they conceal a variety of emotional and intonation shades, but, mainly, in accordance with the poetic text, they are designed to give special expressiveness to the flashes of either more tangible or subtle pleasant memories, aspirations, and hopes of a sufferer in love, which certainly fade away under the influence of the harsh realities of life. The musical text is harmoniously consistent with the poetic text, contributing to the expressive and heartfelt disclosure of the touching lyricism and dramatic expressiveness of the folklore work under consideration.

Yuri Nikolaevich Chumakov (1922–2015) is best known for his works on Pushkin, Tyutchev, and the Onegin tradition in Russian poetry. His scholarly interests, however, extended far beyond 19th-century Russian literature. In 2010, his last book, “Towards a Lyrical Plot” (Moscow, 2010). After its publication, this book continued to live in his mind, and in his workbook, which he always kept at hand (more than twenty such notebooks have survived, not to mention his notebooks), notes appeared that serve as a spontaneous continuation of it. We decided to publish this notebook from 2012–2014. In it, in addition to poetry and philosophical fragments on the author's favorite themes, such as part and whole, singularity, the point extending to all, and so on, the reader will find notes on the prose of I. Bunin, the lyric poetry of B. Pasternak, and memoir and poetry sketches.

The article analyzes the new memoir narratives discovered in the writer’s archive. Thematically and stylistically, they carry on the tradition of Remizov’s 1950s essays on the Dead Souls, based on the literary analysis of the classic’s style as construed in Andrei Bely’s book Gogol’s Mastership (1934). In both essays, a hyperbolized symbol, representing the «grain» of the character’s image, forms a lyrical plot that shapes itself around it. The drafts of the essays about N. Berdyaev and V. Lebedev preserved in the writer’s notebooks testify to the beginning of a new stage of Remizov’s creative career as a memoirist.

The poem is considered as a programmatic one, showing the specific features of Fet’s worldview and, in particular, the originality of its gnoseology. The usual idea of Fet as a poet, capable of fixing only fleeting impression and revealing only minor topics, is being rethought. The use of a cultural approach and an appeal to semiotically significant images allows us to expand our understanding of the scale of Fet’s work and to discover the internal logic of the development of the lyrical plot, which is based on the historical and cultural principle. The integrity of the poem’s plot is determined by the movement from one historical era with a certain picture of the world to another, beginning with Antiquity and up to the New Age. Thus, Fet’s lyrical hero goes through all the main stages of the development of the human spirit, traveling not only in space but also in time.

In this article, the describing peculiarities of the environmental problem in the lyrics of Kenesbay Karimov who is the well-known representative of Karakalpak poetry.A number of poems of the poet were analyzed.The use of artistic methods such as talk, lyrical plot, and artistic detail is studied in the poems on this topic.In K. Karimov's poems, the opinions worthy of attention were also expressed on the methods of opinion expression, lyrical composition, and issues of artistic language.

The symbolic image of the church/temple is considered one of the integrating images in Blok’s lyrics, revealing the poet’s connection with the religious aspects of culture. The characterologically significant images of the white church on the hill and the dark St. Petersburg temple are analyzed in different facets of the author’s three poetry books. A visual image in the background landscape — the white church in the midst of the vast Russian expanses — appears as a bright landmark in the lyrical plot of the poet’s path, and is connected with the theme of awaiting the Beautiful Lady. This is a high-frequency image (about 50 uses), which has appeared in Blok’s work since 1899. All its connotations manifested in 1901, and 1902 marked the culmination of its unfolding. Initially, the image of the church/temple appears as a dual one; the light dominant element of the poetic landscape is coupled with fog and inner darkness, and is not a sense-generating center of the lyrical theme development in poem structure. The situation of standing on the threshold or at the entrance to the temple and the general obscurity of the image symptomatically reflects the character’s incomplete involvement in the temple’s inner world. Only in a few poems does the image of the white church convey light that affects the outcome of lyrical dynamics. The symbolic image of the church/temple reveals the poetic features of the “antithesis” within the very “thesis” of Blok’s work and retains irresistible spiritual duality up until his latest creative works.

Aim. To highlight the specifics of Lermontov’s perception of the history and culture of Greece, to analyze Greek motifs in his work.Methodology. The article uncovers the sources, which shaped Lermontov’s perception of Greece, the circle of works that use plots and images of the classical antiquity and contain a response to the events of contemporary Greek history. The author uses biographical, cultural-historical, historical-functional methods of research.Results. The article comprehensively presents the features of artistic interpretation of the image of Greece in Lermontov’s works, demonstrates that both the past (classical era) and the present of the country are equally important to the author. Poet’s works interpret mythological plots and images, as well as Greek folk song “Olympus”, he lyrical plot of which is qualitatively rethought.Research implications. The article systematically presents the Greek theme in Lermontov’s works, which allows us to more fully reveal the problem of intercultural dialogue in the literature of the first half of the 19th century.

Nima Yushij’s oeuvre is a crucial prerequisite to the emergence of modern type poetry in the Persian language. Studying his work is relevant for an Iranian philologist who strives to develop a holistic model of the literary process in modern Iran. Many facts, related to the achievements of the poet-innovator, have not been introduced into the scientific circulation and still remain beyond the research gaze. The elimination of such lacunas turns out to be a challenge of paramount importance for the experts in modern Iranian poetry. This article is devoted to the functional analysis of the dialogue form in one of Nima Yushij’s famous poems named “Maneli” There are two characters (a sea maiden and a fisherman) who reflect on the conflict of material and spiritual principles in human life, and each of the characters acts as a personification of the opposing points of view. The artistic world of the poem is based on the 20th-century Iranian author’s reinterpretation of Urashima Taro’s ancient Japanese tale, which tells of the fateful meeting between a fisherman and a charming sea-dweller. The purpose of this study is aimed at identifying the poetic basis that determines the conceptual structure of the considered text and distinguishes it from previous Persian translations of the Japanese story. The analysis is carried out using the comparative-historical, structuralist and other literary methods. The analysis has revealed the predominance of lyrical features over narrative ones in the poem, which result from the author’s realization of the borrowed material in the patterns of the Persian classical genre of debate (munazara) and the exchange of monologues in the medieval Iranian love-romance epic. The form of dialogue in the poem “Maneli” is the main vector of its lyrical plot movement. The semantic organization is conveyed with the creative strategy of “free ‘aruz’”, developed by Nima Yushij as his own creative “know-how”. The ideological concept of ‘Maneli’ appears similar to the poet’s early work, the manifesto of “new poetry” in Iran (i.e. ‘Afsane’), and the artistic structure of the former demonstrates the evolution of their author’s creative manner.

В центре внимания авторов статьи – вокальный цикл Ф. Пуленка «Каллиграммы» (1948), созданный на поэтические тексты из одноименной книги стихов Г. Аполлинера. Сочинение проанализировано в аспекте музыкального воплощения фигуративной поэзии и принципов организации цикла. В своей интерпретации вербально-визуального первоисточника композитор опирается на гармонические средства с закреплённой семантикой, звукоизобразительные приёмы, жанровую конкретизацию. Для построения лирического сюжета и объединения миниатюр в цикл он формирует интонационные, тональные связи, создаёт систему особых гармоний. «Каллиграммы» Аполлинера – Пуленка можно трактовать и как дневник человека, прошедшего войну, и как музыкальный памятник всему «потерянному поколению» (Г. Стайн). The authors of the article focuson F. Poulenc's vocal cycle “Calligrammes” (1948), based on poetic texts from the collectionof poems of the same name by G. Apollinaire. The composition is analyzed in the aspect of the musical embodiment of figurative poetry and the principles of the organization of the cycle. In his interpretation of the verbal-visual primary source, the composer relies on harmonic means with fixed semantics, sound-descriptive techniques, and genre concretization. To build a lyrical plot and integrate miniatures into a cycle, he forms intonation and tonal connections, and creates a system of special harmonies. Apollinaire–Poulenc's “Calligrammes” can be interpreted both as a diary of a man has gone through the war, and as a musical monument to the entire “lost generation” (G. Stein).

“Beauty in front of the mirror”, “Statue in Tsarskoye Selo”, “Who grew the tender roses of Theocritus in the snow?” by Pushkin, as well as some anthological epigrams of his contemporaries). The ancient Greek epigram, distinguished by clear formal features and a wide variety of content, recorded, as a rule, only something static or instantaneous. This quality ensured, in the eyes of Pushkin’s contemporaries, the authenticity of the transmission and perception of the object depicted in the epigram. In anthological epigrams of the first third of the 19th century, deviations from such primordial features of the genre as the elegiac distich and the absence of rhyme were allowed, but the static nature, anti-narrativeness, and embodiment of an instantaneous, non-deployable state characteristic of ancient models were preserved. In connection with the last feature, the question arises as to whether a lyrical plot can be realized within the framework of such a genre. Using the example of Pushkin’s epigrams, which are not an inscription addressed to a really existing object, but create a convincing plastic image (creating their own denotation), it is shown that the event component of such texts (their lyrical plot) lies in the very act of embodiment of a visible object, in the act of its acquisition of existence. In a number of cases, this act becomes the subject of poetic reflection, the epigram comprehends itself and becomes self-referential. The substance of poetry, cleared of narration (Yu. N. Chumakov’s terms), is presented in such cases as a self-creating and self-interpreting principle.

Our article is devoted to the analysis of plots appearing in poetic epitaphs from the 18th to the 20th centuries. The study focuses on a specific variety of this genre known as the literary epitaph. This term refers to a work dedicated to the memory of the deceased, existing in the form of a publication, distinguishing it from a real epitaph, which is placed on a tombstone. We note that features such as small volume, lapidary nature, formulaic style, and subject matter are characteristic of this genre and lead to distinctive elements in the plot structure of epitaphs. In such works, the eventfulness becomes hidden, only inferred from the images and characteristics present in the text. We emphasize that in the case of epitaphs, it is impossible to talk about the plot in the same way as in epic or dramatic works. Furthermore, a lyrical plot does not arise in such works, since the plot of the epitaph, which is not fully manifested in the text, can be reconstructed, although it is usually impossible to retell it. We highlight and describe plots that can be conventionally called “the death of the bride,” “the life of a righteous man,” a plot about an unremarkable life and its variations, including satirical and philosophical ones. We also separately discuss idyllic plots in epitaphs and consider epitaphs dedicated to animals, birds, and other unusual subjects (a bee, a purse, a calf, overlays, and high hairstyles). Thus, the study examines some plots characteristic of Russian poetic epitaphs from the 18th to the 20th centuries, using examples to analyze plot signs and the methods of their introduction into the text. We also demonstrate that literary epitaphs can use distortions of traditional formulaic phrases to create satirical content. Additionally, we have found that in epitaphs dedicated to any social phenomenon or object, the plot component can be almost entirely displaced from the text for the same satirical purpose.