Introduction.  The article is devoted the musical impression which became the inalienable constituent of the original creation of European symbolists of the end XIX to beginning XX of the century on the background of the European tendencies. Oleksandr Oles and European symbolists brought the idea of the “inner individual”. They revolted against the world and the public and government norms.Purpose. The revelation of the musical images, which creates the metaphorical universe, filled with symbols of the human existence.Methods. The methods of the research is based on the main principles of the philological analysis of the text. The determined tasks foresee the use of elements of comparative and hermeneutic analysis as a general interpretation of literary texts.Originality. The originality of the system of the artistic images, motives, spirits, rhythm and melodic absorbed the powerful lyricism of the poets’ sensitive soul. The creativity of Oleksandr Oles, European symbolists are marked by the influence of the romantic poetics. The most important component of which were the lyrical mood and the melodiousness of the phrases, that created the individual image of the spiritual being on the way to the beauty and dream.Results. The radical change in the formation of european thinking, that determined the representation of the image of the world as a vivid and dynamic organism, that can be known only by intuition and fancy, was still in Romanticism in contrast to versus rationalistic and empirical philosophy of Enlightenment. Based on the new concept of the world and of human being, the transition from Enlightenment to Romanticism led to the revaluation of the ideological and aesthetic principles. In the 1820-th years, when the conceptual basis of romantic art appeared for the first time in french and german literature, his adherents defined it as «parnassian atheism» and «the doctrine of literary freedom».The dominating idea of the romantic attitude was the liberation of literary standards, the idea of «nationality», the rebellious of the individualism, the perception of the nature through imaginative and emotional contrasts, the interest in the old legends, the folklore and the appeal to the national antiquities. The lyrical spirit of Romanticism denied its existence in the close frameworks of the rationalistic aesthetics of Enlightenment, because the romantic artist needed the air, the space, the magic of the last, the witchcraft of the distant horizons, the majestic scenery of the history and the nature.Oleksandr Oles considered the art to be the most consummate variety of the perception and drew the truth of life from the book of nature, placing the poetry as a form of self-expression, that shouldn’t take into consideration the traditional models and is programmed to open the human soul, the mysteries of the space and the contradictions in the society. The motion of the poetic thought, the search for the imagination, the passions of the lyrical feelings were the basis of the pantheistic world-view in the works of Oleksandr Oles, suggested by the beauty of the nature of the native country.The important role in understanding of the ukrainian poet’s world-view is the attention to the floral symbols, representing the original projection of the human world on the world of plants. The images of the flowers had the symbolic and significative meaning, that reflected the national specificity of the literature and represented the most significant features of the ethnics. Therefore, the interest in the floral symbolism created the unique musical images in the poetic imagination of the artists, which were the result of the interaction of the human being with nature – source of the creative inspiration, the peace and the harmony. The flowers which have become the object of the worship and the amulets in the familiar and calendar rituals, witnessed the profound wisdom and philosophy of every nation in all its complex and contradictory unity.Oleksandr Oles fascinated the beauty of the nature, which gave him the soul equipoise and caused the poetic inspiration. The combination of the diverse memoirs and impression indicate the intertextual richness of the poetic associations of the ukrainian poet. The individual experiences of Oleksandr Oles embodied in the symbols of the flowers, that gave rise to the birth of the new ones, filled with different content figurative modifications. It is primarily about the organic unity of the light ethereal source (sun), the soul of the plants and the artist as the personification of the creative bloom of the vitalistic flowering of the nature’s forces.The important feature in the works of Oleksandr Oles  played the elements of the landscape: the nature was not just depicted, it was felt by the poet,  merged, contrasted with feelings, mood,  state of his soul, expressed the  melancholy, the boredom, the thoughts.Conclusion. The structure of the world of Oleksandr Oles built on the binary oppositions, that outlined two spheres of his experience, based on the complexity and diversity of human being and nature. The beauty of the environment for ukrainian poet became an expression of the acquisition of his own soul, which sank into the dynamics of the life, which was love, hope, faith and the irrational and fatal force at the same time, that brought the suffering and the death. 


poetic imagination; symbol; reflection; vision; symbolism; impression; transcendental; spirit; mythological tradition; creative inspiration


Beletsky, L. (1923). O. Oles. On the occasion of the 20th anniversary. New Ukraine, 12, 1–10 (in Ukr.)

Yevshan, M. (1998). Criticism. Literature. Aesthetics . Kyiv: Osnovy (in Ukr.)

Sologub, F. (1978). Poetry. Lenynhrad: Sovetskyi pysatel (in Russ.)

Oles, O. (1990). Poetry, v.1. Kyiv: Dnipro (in Ukr.)

Annenskyi, Y. (1988). Selected works. Lenynhrad: Khudozhestvenaya literatura (in Russ.)

Briusov, V. (1973). Poetry (1892–1909), v. 1. Moskva: Khudozhestvenaya literatura (in Russ.)

Lepkyi, B. (1990). Poetry. Kyiv: Radianskyi pysmennyk (in Ukr.)

Verlen, P. (1968). Poetry. Kyiv: Dnipro (in Ukr.)

Matushevskyi, I. (1965). Slovatskyi and new art (modernizm): The creativity work of Slovatskyi in the light of the views of modern aesthetics. Warszawa: Państwowy Instytut Wydawniczy (in Polish)

Voronyi, M. (1996). Poetry. Translations. Critics. Publicism. Kyiv: Naukova dumka (in Ukr.)

Charnetskyi, S. (1991). Poetry. Scattered pearls. Kyiv: Lybid. (in Ukr.)

Pachovskyi, V. (1907). Poetry of breaking wave. Dilo, 279,1–4. (in Ukr.)

Blok, A. (1961). Poetry (1907–1916), v. 3. Moskva: Khudozhestvenaya literatura (in Russ.)

Tetmajer, K. (1980). Poetry. Warszawa : Czytelnik (in Polish)

Staff, L. (1967). Selected works, v. 2. Warszawa :Państwowy Instytut Wydawniczy (in Polish)

Maksymov, D. (1975). The idea of the way in the poetical consciousness. Lenynhrad: Sovetskyi pysatel (in Russ.)

Rembo, A. (1988). Poetry in verses and prose. Moskva: Raduha (in Russ.)

Bodler, Sh. (1999). Poetry. Kyiv: Dnipro (in Ukr.)

Ivanov, V. (1974). Articles of different years, v. 2. Briussel: Foyer oriental chretien (in Russ.)

Oblomyevskyi, D. (1973). French symbolism. Moskva: Nauka (in Russ.)

Chuprynka, H. (1991). Poetry. Kyiv: Radianskyi pysmennyk (in Ukr.)

Balmont, K. (1990). Poetry. Translations. Articles. Moskva : Pravda (in Russ.)

Blok, A. (1962). Selected works. Autobiography. Diaries, v. 7. Moskva: Khudozhestvenaya literatura (in Russ.)

Tverdokhlib, S. (1988). Poetry. October, 9,13 (in Ukr.)

Peredzvony polskoi liutni: Poetychna antolohiia, (2001). Kyiv: Dnipro (in Ukr.)

Cherkasenko, S. (1991). Poetry, v. 1. Kyiv: Dnipro (in Ukr.)

Kandynskyi, V. (1992). About spiritual arts. Moskva: Arkhymed.

Full Text: PDF (Українська)


  • There are currently no refbacks.
2014 320    
2015 358 360 363
2016 Том 1,1 2 Том 2,1
2017 1 2  
2018 1 2


Journal Content