FEATURES OF PAVLO TYCHYNA’S INDIVIDUAL STYLE (BASED ON THE COLLECTION INSTEAD OF SONNETS AND OCTAVES)

Abstract

This article seeks to outline the main features of the individual style of the outstanding Ukrainian master of words of the early twentieth century – Pavlo H. Tychyna (based on his collection Instead of Sonnets and Octaves). A comprehensive linguostylistic analysis of the book has been undertaken, treating it as a holistic poetic organism that combines the traits of prose poetry with the architectonics of a “poem-book” (a prologue, eleven strophes, and their corresponding antistrophes). The genre specificity of the collection has been identified as that of an experimental modernist text, characterized by an emotional and philosophical logic of narrative development. The linguistic organization of the work has been characterized: the reduction of adjectival lexis and, accordingly, of the epithet, alongside a high degree of metaphorical saturation; individual authorial comparisons with synesthetic effects; antithesis as a dominant device representing the contradictions of the epoch; and repetitions that form the internal dynamics of emotions and recurrent leitmotifs. It has been shown that although epithets are few, they are exceptionally functional: they specify authorial neologisms, localize the scenic space, and create symbolic background. Metaphor emerges as the principal mechanism of philosophical symbolization and the generation of polyvalent imagery. Comparisons reveal the poet’s synesthetic thinking, which fuses visual, auditory, and emotional impressions into a single artistic whole. Synesthetic constructions, though rare, reinforce the intermedial character of Tychyna’s style, demonstrating his inclination toward the musicality and pictoriality of the poetic word. Repetition ensures the compositional unity of the collection and marks the gradual psychological gradation of the lyrical subject’s states – from exaltation to despair. It has been revealed that Pavlo Tychyna’s individual style in Instead of Sonnets and Octaves is distinguished by multidimensionality, innovativeness, and philosophical depth. His poetics rests upon the combination of modernist experimentation in genre, language, and imagery with the national literary tradition. The study concludes that the poet’s idiolect functions as an integrated system, wherein musicality, innovative word formation, symbolism, and textual polyphony constitute a unique artistic universe, essential for understanding the development of Ukrainian modernism in the first third of the twentieth century.