Romantic discourse of "Haidamaki" poem by T. Shevchenko - Статья

Romantic discourse of «Haidamaki» poem by T. Shevchenko Oleksandr Tkachuk Annotation The poem «Haidamaki» is investigated as a lyric-epic poem, which is built on principles of romantic discourse. There is explored the interconnection with the genre of heroic epic, the pecidiarity of the narrative distance between the storyteller and represented events. The romantic means of composition and principles of design of characters are traced in the context of lyric manner of the story narration. Keywords: lyric-epic poem, epopee, discourse, storyteller, Byronic poem. Genre nature of the poem «Haidamaki» does not have a single meaning. It corresponds to the epopee genre because of the character of the questions touched; however, it significantly differs from the classic standard of heroic epopee in the way of narrative implementation and suzet-compositional structure. An epic poem did not spread in Ukrainian literature and, moreover, in a time of writing of «Haidamaki» this genre variety of epos stepped back to the background. Style features of «Eneyida» by Kotlyarevsky are indicative in this regard; it, on one hand, was a travesty of a classic heroic epopee, and on the other - it eventually acquired the high sounding in the closing chapters and that witnessed the necessity of the artistic mastering of category of epic. A romantic poem dominated already in European literatures in the time of creation of «Haidamaki». Poetic story (powiesc poetycka), to which combinations of the epic and lyric beginnings are inherent, was blooming in Polish literature in 1825 - 1830. These peculiarities were expressed in moods, in attitude towards represented, in authorial addresses to the reader, pulling the hero, which is close to the poet, to foreground of a narrative, disruption of composition, even in fragmentary way of storytelling and elements of mystery in a plot. Also authors underlined the presence of historical and national coloring («Lithuanian story», «Ukrainian story») [8, P. 5]. An example of such variety of poem is Seweryn Goszczynski’s «Zamek kaniowski», which is similar in motifs with «Haidamaki». Russian literature also mastered such genre model through «Byronic» poem, in particular in form of «eastern» poems by Alexander Pushkin. One of main genre features of epopee is depiction of events of great social- historic value. Therefore, putting an object of depiction in the first place D. Chalyi defined genre of «Haidamaki» as a romantic epic [10, p.34]. Classical heroic epopee had a linear presentation of events, there was unfold a consistent causal relationship from the beginning to the end of the story being told. In this case narrator drew attention to the detailed description of the external objective circumstances and conflict advance. The main role in the discourse was assigned to the characters and subjective expression of lyrical narrator was reduced to a minimum. As you can see, the nature of the history of «Haydamaki» is far removed from the classical standards of the heroic genre. This contrast to the epic genre and its structure drew attention of academics. M. Hnatyuk argued that at its core «Haidamaki» by T. Shevchenko is a lyric-epic romantic poem of heroic content [2, p.48]. This view is shared by modern scholars, considering «Haidamaki» a national epic modified with lyrical and romantic intentions [4, s. 159]. «Haidamaki» is based on the new at the time of composition principles of romantic poem with its fragmentariness when the author freely behaving with plot detail reflects only the most dramatic «vertex» episodes. Compositional correspondence of T. Shevchenkos poem was noticed by M. Hnatyuk: «Some traditions of «Byronic poem» with its free composition is felt in T. Shevchenkos «Haidamaki» [3, p. 32]. Critics perceived such compositional organization of the material ambiguously. «Eastern» poems reception by A. Pushkin, which supporters of Romantic movement greeted favourably and followers of traditional forms were sceptical to plot composition of «Byronic» poems, could serve as an example. «All reviewers dealing with the 20 years of the nineteenth century stopped at the «fragmentation» of Pushkins poems, the structure of which they opposed to the usual coherence and completeness of the heroic epic of the old style, - said V. Zhyrmunskyi [5, p. 69 The latest were amazed with incompleteness, absence of clear solutions (compare with the remark by O. Ohonovskyy who prefers to learn more about the future Yarema); it is meant that the action in the scene is interrupted and does not have an end. Ivan Franko also critically treated the composition plan of the poem. Specifying the evolution of aesthetic requirements for general construction of the work of art, the critic pointed out that, at present, the main requirement for unity of action remains. The author has to keep the readers attention around a central theme. In his view, T. Shevchenko failed to comply with this principle in Haidamaki. At the beginni