Theorist and practitioner of translation. Poetry visualization. Ketches

Abstract

Background. The scope of Maksym Rylskyi's creative work is impressive. Much has been written about him, and new emphases in the assessment of the artist and scholar have been added even in reference resources. The aim of this article is to contribute new insights into the study of Rylskyi's activity as both a theorist and practitioner of translation, as well as to explore the visualization of some of his poetic texts.

Methods. General scientific methods (analysis-synthesis-forecast), philological, historical-literary, comparative, and intermedial approaches were used. Elements of academic polemics and essayistic style were also applied.

Results. The article consists of three parts. The first part, presented in the format of an "article within an article", contains a textual section of a creative presentation by a 4th-year student at the Institute of Philology (specialty "Creative Writing, Ukrainian Language and Literature, and English") Sofia Malakhivska titled "Maksym Rylskyi as a Theorist of Translation."

The second part of the article adds new details to the topic "Rylskyi as a Practitioner of Translation": the adequacy of rendering Janka Kupala's poem "And Who Goes There?" and the polemical spirit of a sonnet by Slovak poet Hviezdoslav - an ideologically clear response to Pushkin's aggressive pamphlet justifying the suppression of the 1830 Polish national liberation uprising by the tsarist army and inciting further storms in the "Slavic sea".

The third part of the article is devoted to the need for intermedial embodiment of the poet's works through the language of art synthesis. Here, issues of receptive aesthetics are also considered. Examples are provided of the visualization of Rylskyi's poems "Roses and Grapes," "To the Rhone," "Remember, madman," "Apples are ripe, apples are red...," "Swallows fly, for it is flying time..." and the creative challenges that accompanied their realization. Visualization must be used in teaching practice to revive the classics and bring them closer to the hearts of new generations.

The third part of the article is devoted to the need for intermedial embodiment of the poet's works. This is also a translation - in the language of the synthesis of arts, since we live in the age of visualization. And here the problems of receptive aesthetics are involved. Examples of visualization of Maksym Rylskyi's poems "Roses and Grapes", "To the Rhone", "The apples are ripe, the apples are red...", "Swallows fly, because they fly...", "Remember, you fool" and various collisions that accompanied their creation are given.

Conclusions. The 130th anniversary of M. Rylskyi's birth was a good occasion to reflect on his best works, to understand the compromises he had to make-not only for survival but also to continue creating aesthetically superior works. For example, in the poem "Roses and Grapes," the poet sought to illustrate the concept of ancient kalokagathia, combining it with Skovoroda's teaching on innate vocation, and at the same time aligning it with the socialist realist poster aesthetic. The attempt was not entirely successful. The third Socratic component, still the most important today, moral virtue, in addition to beauty and usefulness, was not represented. Yet it emerges implicitly in his other poems.

This can also be historically justified: 1955. Two years after Stalin's death, ten years after the atomic destruction of Hiroshima and Nagasaki, a new arms race, and the draining of strength from "creative" workers, peasants, and intellectuals. And the attempt of an older poet, by activating the memory of the Neoclassicist, to depict an antique - Skovoroda - "our" idyll and to inspire readers with a renewed appreciation for the beauty of the world. This was accomplished more organically and artistically in the other poems discussed in the third part of the article, which have now visualized in the hope of a soul unclouded by officialdom and dogmatization.