“SEARCH FOR A NEW BLUENESS, NEW LOVE ...”: PROJECTION OF SYMBOLISM TO THE POETRY AND THE PROSE OF THE TURN OF THE XIX-XX CENTURIES

Authors

DOI:

https://doi.org/10.31494/2412-933X-2019-1-8-9-17

Keywords:

symbolism, modernism, poetry, prose, typological similarities, differences.

Abstract

The article considers the specificity of symbolism (French, Russian, and Ukrainian) as a stylistic trend of modernism, which synchronously evolved at the turn of the XIX – XX centuries and had both related and heterogeneous features, which gave subsoil to consider this artistic phenomenon in a typological context. Among the socio-typological, literary-typological, it is especially emphasized on the psychological-typological similarities, which are caused primarily by the peculiarities of the psyche of writers, which were intensified during the transitional period and caused the development of symbolism everywhere and regardless of circumstances. It is no accident that in a lot of Ukrainian (M. Vorony, O. Lutsky, I. Franko, Lesya Ukrainka, V. Stefanyk, etc.) and Russian writers (I. Annensky, K. Balmont, A. Bely, V. Briusov, F. Sologub, etc.) can be seen the affinity of their works with the works of French writers: Sh. Baudelaire, E. Vergarn, S. Mallarme, M. Meterlinck, J. Morais, A. Rembo and others. Similar themes and motives bring the writers together (suffering, pessimism, “the tensions of life”, at the same time – the search for “new blueness, new love”, etc.), also a new interpretation of the artistic image, which was transformed into a multi-valued artistic symbol that can be recognized on the intuitive and sensual level. The artistic speeches also united the writers that were marked by musicality and rhythmicity. It is noted that symbolistic aesthetics and poetics are inherent not only in poetry but also in prose. Duality of descriptions, hidden content, polysemantic symbols and other creative ideas of the Ukrainian and Russian writers of the new generation (M. Yatskov, O. Plyushch, I. Lypа, S. Gorodetsky, F. Sologub, N. Gumilev, etc.) offer wide opportunities for typological parallels in the realm of their poetic techniques. M. Gumilev's novels (“The Joy of the Earth's Love” (“Three Stories”), “Princess Zara”, “The Golden Knight”, “Cain's Daughters”, “Black Dick”, “The Forest Devil”, “The Last Courtyard Poet”, “ Stradivarius’ Violin”) reveal typological similarities with the symbolistic poetry of the short stories by M. Yatskov, O. Plyushch, I. Lypa, G. Khotkevych and others, due to the literary-aesthetic climate of the era, the style of the worldview, the peculiarities of the emotional composition of the authors. The examples and fragments of the comparative analysis testify to the typological coincidence of the works of the symbolists. The commonality of the aesthetic platform of writers in the French, Russian, and Ukrainian literatures leads to the similar artistic decisions in genological taxonomies and in the field of expressive means. It is summed up that symbolism as the stylistic branch of modernism became quite a noticeable literary phenomenon not only in France but also in Ukraine and Russia, becoming an artistic phenomenon that influenced the work of lots of writers at the turn of the XIX-XX centuries, universalizing the general concept of “a new generation” of writers whose artistic searches were synchronous and simultaneous.

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Published

2025-05-14