83. M.Zerov and Ukrainian Neoclassicists
Neoclassicists (neokliasyky). A literary movement of the 1920s. The nucleus of the group consisted of Mykola Zerov, Maksym Rylsky, Pavlo Fylypovych, Mykhailo Drai-Khmara, and O. Burghardt (Yurii Klen)—the piatirne grono (cluster of five), as Drai-Khmara called them in his sonnet ‘Lebedi’ (The Swans). They never established a formal organization or program, but they shared cultural and esthetic interests. Mykhailo Mohyliansky, Viktor Petrov, and others are also included in this loose grouping. The group's name is derived from their use of themes and images of antiquity and was given to them by their opponents in the Literary Discussion of 1925–8. The Neoclassicists were self-consciously concerned with the production of high art and disdained ‘mass art,’ didactic writing, and propagandistic work.
The works of the Neoclassicists were anti-Romantic and antifolkloric. They sought universal themes and considered Ukrainian culture to be an organic part of Western European culture. The closest to what could be considered their program is clearly set out in Mykola Zerov's Do dzherel (To the Sources, 1926). ‘We should,’ he wrote, ‘assimilate the highest culture of our times, not only in its latest manifestations, but also in its original forms.’ From that commitment stemmed the demands the Neoclassicists made of a writer: (1) a comprehensive knowledge of the best works of Ukrainian literature; (2) a comprehensive knowledge of the achievements of world literature; and (3) poetic craftsmanship of the highest level. High art, in their view, could be conveyed only through clarity of thought and mastery of form. Their poetry, therefore, is characterized by balance, plasticity of image, and logical ordering of subject and composition. The main purpose of literature, as they perceived it, was esthetic; they rejected the tendentiousness, agitation, and moralizing of their contemporaries. In order to gain a knowledge of world literature most of them translated into Ukrainian selected works, ranging from those of antiquity to those of the Parnassians in France. Individual Neoclassicists gravitated toward particular styles: Maksym Rylsky and Pavlo Fylypovych to symbolism, Yurii Klen (Burghardt) to neoromanticism.
84. Ukrainian poetry of the 20th century (M.Bazhan, P.Nychina, M.Rylsky)
Ukrainian poetry came in the fourth decade of XX century. bleeding physically, aesthetically and morally emasculate confused .. Older generation of artists (Tychyna, M. Rylsky, M. desires and so on.) In the adverse conditions of totalitarianism zrikalysya creative search and doluchaly their broken voices to the chorus treasury. denied any ideological and aesthetic innovations, but decreed it.
Important principles for personal poetry were vtyati the roots, lyrical "I" in the gray mass rozchynyalosya workers, seeing in his calling. Offer their own vision and understanding the surrounding world poets navazhuvalysya.Z not set intonation and register a prominent place was heroic pathos, zlyutovuyuchy "legendary" and similar events of the civil war in the coming new single "winning" and, when all the official image of reality, a fabulous array.
Bitter recognize, but that war freed prytlumleni force of Ukrainian literature, folk bands popustyla spirit that one alone could rectify the tragedy. Enough has been reduced iron borders, sing hosanna uschaslyvlenomu socialism people had to go die for their homeland. And this was only capable person, conscious of its nezaminnosti, ready to put their lives on the altar of the Fatherland.
Evolution of Poetry 1941-1945 pp .- This ideological and aesthetic revival of personality as the largest value, the revival of the people as renovation of broken links between personal and general, "my" and "our." The core of this rapid process - an appeal to the art of true human nature, its moral and psychological depths, it is gratifying for art and forced authorities to democratization and humanization of artistic thought. Before his death a citizen daruvalosya last word, a word from him, his unique "I", which is also reflected in the poetry of wartime.
Anonymity lyrics, her psychological vyholoschenist partly compensate artists appeal to historical figures to the genre of historical portraits. It is worth mentioning cycle "Unforgettable" Rylskyi (1950) poem "Mickiewicz in Odessa. 1825 "M. Preferred (1956). Beware of the stipulation and caveats, they again begin to apply to it ("Song" D. Pavlychko, "People power" Rylskyi, 1954, etc.).. Hesitantly, but returned to poetry itself figurative language, lust of figurative thinking, beauty, love, awareness needs fine (D. Pavlychko, L. Kostenko) Sprahlist with beautiful lyrics that prohoplyuyetsya in senior and junior artists - this is the voice of modern times. He was about: 1955 m year-dates the poem Mr.V.Symonenko "Toloka" begin to appear more aesthetic enlightenment of the young talent that they were published only in the late 80's, in 1957 a collection of "earth rays" debuts Lina Kostenko, the same , M. Rylsky publishes his book "Roses and Grapes" next year - means "Truth is calling!" D. Pavlychko. Although the government immediately withdraw it from circulation and burns, this book illuminates the ledges of the new continent in the spiritual life of Ukraine. In the literature, another period.