ROMANTICISM IN INTONATION REPRESENTATION: THE RHYTHM AND MELODY OF VOLODYMYR SAMIILENKO

Abstract

The article highlights the issue of stylistic identification of V. Samiilenko’s poetry. Despite numerous studies of his poetics, the question of the poet’s individual style in relation to the styles of his epoch remains at the level of declarative statements about a shift towards Modernism. The research hypothesis is to examine the problem of V. Samiilenko’s affiliation with Romanticism and, to some extent, Neo-Romanticism, through the rhythm and melody of his poems. The study aims to demonstrate the influence of a romantic worldview and the corresponding type of V. Samiilenko’s creative work on the rhythm and melody of his poetry, and with the help of genre and stylistic analysis prove his organic affiliation with Neo-Romanticism. Research methods include versification and genre-stylistic analysis. Results. The criteria of versification technique are not always taken into account in style studies. However, it is the poetic forms and their rhythmic-tonal and rhetorical devices that create the intonation patterns of poetic works and reflect their emotional component. The development stages of national poetry are consonant with the development of methods and styles. Romanticism is characterized by the development of classical versification with the inclusion of folk melodies, whereas the modernist era is marked by a movement in the opposite direction, towards a change in the canon and the mastery of non-classical versification. Poets of the late 19th and early 20th centuries often paved their way to modernism through experiments with versification. However, for most artists of this period, orientation towards syllabo-tonic versification combined with folk melodies is crucial, as this poetic form is the most congruent with the romantic worldview. Conclusions. The peculiar features of V. Samiilenko’s versification technique analyzed in the article show that his immersion in the folk song tradition is entirely romantic. Even in his ironic and satirical works, the poet maintains an intonation of elevated emotion. Folk song prevails, preventing the search for rhythms in which the poet’s voice would surpass the more powerful and universal folk melody.