CC BY
3
Библиографический список
1. Велилаева Л.Р Эмиграционный и метрополийный дискурсы шотландской поэзии XIXвека. Симферополь: ИП Хотеева Л.В., 2019.
2. Crawford R. Scotland's Books: the Penguin History of Scottish Literature. London: Penguin, 2007.
3. Ross J.D. A cluster of poets Scottish and American, with biographical and critical notices. New York: Walter W. Reid, Publishers, 1897.
4. Коломкина В.В. Метаморфозы художественного времени в творчестве И. Бродского. Вестник Московского университета. Серия 9: Филология. 2012; № 6: 167-178.
5. Шеянова С.В. Моделирование художественного времени в романах Е. Четвергова. Вестник угроведения. 2019; Т. 9, № 1: 102-111.
6. Haswell-Smith H. The Scottish Isles. Edinburgh, New York, Melbourne, 2004.
7. Scotland: A History. Oxford: Oxford University Press, 2005.
8. Henderson D.M. Poems, Scottish and American. Baltimore: Cushings and Bailey, 1888.
9. Ross J.D. Scottish Poets in America with biographical and critical notices. New York: Pagan&Ross, Publishers, 1889.
10. Арутюнова Н.Д. Время: модели и метафоры. Логический анализ языка. Язык и время. 1997; № 3: 51-61.
11. Ахундов М.Д. Концепции пространства и времени. Истоки. Эволюция. Перспективы. Москва: Наука, 1982.
12. Федосова Т.В. Темпоральная организация текста как компонент идиостиля автора: На материале произведений К. Воннегута и Дж. Фаулза. Available at: http:// cheloveknauka.com/v/143214/a?#?page=1
13. Ainslie H. Scottish songs, ballades and poems. New York: Redfield, 1855.
14. Law J.D. Dreams o'Hame and other Scotch poems. London: Alexander Gardner, 1893.
15. The Scottish and American poems of James Kennedy. New York, J.S. Ogilvie Publishing Co., 1920.
16. Henderson D.M. A bit bookie of verse in the English and Scots tongues. Baltimore: University Book Store, 1905.
References
1. Velilaeva L.R. 'Emigracionnyjimetropolijnyjdiskursy shotlandskojpo'eziiXIXveka. Simferopol': IP Hoteeva L.V., 2019.
2. Crawford R. Scotland's Books: the Penguin History of Scottish Literature. London: Penguin, 2007.
3. Ross J.D. A cluster of poets Scottish and American, with biographical and critical notices. New York: Walter W. Reid, Publishers, 1897.
4. Kolomkina V.V. Metamorfozy hudozhestvennogo vremeni v tvorchestve I. Brodskogo. Vestnik Moskovskogo universiteta. Seriya 9: Filologiya. 2012; № 6: 167-178.
5. Sheyanova S.V. Modelirovanie hudozhestvennogo vremeni v romanah E. Chetvergova. Vestnik ugrovedeniya. 2019; T. 9, № 1: 102-111.
6. Haswell-Smith H. The Scottish Isles. Edinburgh, New York, Melbourne, 2004.
7. Scotland: A History. Oxford: Oxford University Press, 2005.
8. Henderson D.M. Poems, Scottish and American. Baltimore: Cushings and Bailey, 1888.
9. Ross J.D. Scottish Poets in America with biographical and critical notices. New York: Pagan&Ross, Publishers, 1889.
10. Arutyunova N.D. Vremya: modeli i metafory. Logicheskij analiz yazyka. Yazyk i vremya. 1997; № 3: 51-61.
11. Ahundov M.D. Koncepciiprostranstva i vremeni. Istoki. 'Evolyuciya. Perspektivy. Moskva: Nauka, 1982.
12. Fedosova T.V. Temporal'naya organizaciya teksta kak komponent idiostilya avtora: Na materiale proizvedenij K. Vonneguta i Dzh. Faulza. Available at: http://cheloveknauka. com/v/143214/a?#?page=1
13. Ainslie H. Scottish songs, ballades and poems. New York: Redfield, 1855.
14. Law J.D. Dreams o'Hame and other Scotch poems. London: Alexander Gardner, 1893.
15. The Scottish and American poems of James Kennedy. New York, J.S. Ogilvie Publishing Co., 1920.
16. Henderson D.M. A bit bookie of verse in the English and Scots tongues. Baltimore: University Book Store, 1905.
Статья поступила в редакцию 01.12.22
УДК 821.(411) - 141.09 "18"
Velilaeva L.R., Cand. of Sciences (Philology), senior lecturer, Crimean Engineering and Pedagogical University n.a. Fevzi Yakubov (Simferopol, Russia),
E-mail: lilivelilaeva@yandex.ru
IMAGES OF METROPOLITAN POETS IN THE POETRY OF SCOTTISH POETS-EMIGRANTS OF THE USA OF 19th CENTURY. A cycle of poems by Scottish poets-emigrants of the United States of 19th century, dedicated to metropolitan poets, is scrutinized in the article. Poetic discourse of 19th century Scottish emigrants of the USA is considered as multilayered supratext with many cycles and levels functioning. The emigrational discourse of the indicated study ensures the novelty and relevance of this work. The quantitative advantage remains with the English poets in the mentioned cycle of poems. Of the Scottish poets, a special place is given to R. Burns and R.L. Stevenson. Their images are distinguished by extreme emblematicity and mythologization, which determine the ethnic specificity of the Scottish emigrational discourse. Among the dominant features of the cycle are national identity and regional thinking, as well as an expressive emphasis on the autobiographical and biographical nature of lyrical characters. A distinctive feature of the emigrational poetic discourse about Scottish poets is the absence of a critical component. Regionalism manifests itself both in a focus on the local and in an attempt to maintain their «Scottishness» in the new socio-historical context.
Key words: Scotland, USA, emigration, poetry, 19 century, poets-metropolitans.
Л.Р. Велилаева, канд. филол. наук, доц., Крымский инженерно-педагогический университет имени Февзи Якубова, г. Симферополь,
E-mail: lilivelilaeva@yandex.ru
ОБРАЗЫ ПОЭТОВ-МЕТРОПОЛИЙЦЕВ В ПОЭЗИИ ШОТЛАНДСКИХ ПОЭТОВ-ЭМИГРАНТОВ США XIX ВЕКА
В статье анализируется цикл стихотворений шотландских поэтов-эмигрантов США XIX века, посвященных поэтам-метрополийцам. Поэтический дискурс шотландских эмигрантов США XIX века рассматривается как супертекст с многочисленными циклами и уровнями. Эмиграционный дискурс обозначенного исследования обеспечивает новизну и актуальность данной работы. В упомянутом цикле стихотворений количественное преимущество остается за поэтами-англичанами. Из поэтов-шотландцев особое место отведено Р. Бернсу и Р. Л. Стивенсону. Их образы отличает крайняя эмблематичность и мифологизация, что определяет этническую специфику шотландского эмиграционного дискурса. Среди доминантных признаков цикла выделяются национальная иден-тичнось и региональность мышления, а также выразительный акцент на автобиографичности и биографичности лирических персонажей. Отличительной особенностью дискурса о поэтах-шотландцах является отсутствие критической составляющей. Регионализм проявляется как в концентрации на локальном уровне, так и в попытке сохранить свою «шотландскость» в новых социально-исторических условиях.
Ключевые слова: Шотландия, США, эмиграция, поэзия, XIX век, поэты-метрополийцы.
Nineteenth-century Scottish emigrational discourse is a complex and ambiguous phenomenon in emigrational studies. Its specificity is caused by a number of factors, among which the following are basic: 1) the conditions of emergence and functioning; 2) the combination of traditionalism and modernity; 3) the emphasis on national identity. Scottish emigrational poetic discourse of the USA of 19th century is a complex and diverse supertext as well [1]. It consists of many levels, contexts and cycles. One of them is a cycle of poems devoted to Scottish and English poets-metropolitans.
Any emigrational discourse is inevitably characterized by duality at the chro-notopic and plot-character levels [2]. Leaving their homeland (Scotland), poets-emigrants continued to treat it as their first (old) homeland. At the same time, they made attempts to settle down in the new place (the USA). This explains the dual character of history, personages and topos described in their poetic texts. It should be mentioned that this duality is realized in the opposition «old» / «new» which can be explained by the specificity of the Scottish poetic emigration of 19th century. They didn't consider themselves as strangers in a new country but as newcomers
who would be able to implement the old Scottish traditions in the conditions of a new country [3, 4, 5, 6, 7, 8].
Self-fulfilment in the States («the American dream») was not just an economic or prestigious task for Scottish poets-emigrants. Emigration, paradoxically, was also a way of preserving the «good old» Scotland of the old days (Auld Lang Syne), which was destroyed by depopulation and capitalization «at home», in the former homeland. Emigration has also activated new ways of poetical reconstruction of that homeland for a new American audience. In the ultimate perspective, emigration was felt intuitively, if not rationally, but as a special mission of «American Scots». They left their homeland in order to perpetuate its image - its nature, its history, its culture - for other peoples and countries.
The novelty of the study consists in analysis of poetic texts of Scottish poets-emigrants devoted to Scottish and English poets.
The purpose of the article is to reveal the main tendencies and characteristics of poetic texts related to metropolitan poets. Tasks of the article: 1) to check the representativeness of the Scottish, English and American poets in poetic texts, 2) to determine the genre and style dominants of the texts, their main functions in the context of the emigrational discourse.
The material of this research work - the poetic texts of the Scottish emigrants of the XIXth century related to poets-metropolitans.
Methodology. The cycle of poetic texts of Scottish poets-emigrants about poets-metropolitans was studied with the help of typological, comparative historical and poetological analyses.
R. Burns, R. Tannahill, J. Hogg, A. Ramsey can be found among Scottish poets mentioned in the poetic texts. English poets are represented much more widely. These are W. Shakespeare, J. Milton, Ch.J.G. Byron, J. Keats, P.B. Shelley, W. Wordsworth, A. Swinburne, A. Pope, E. Spencer and others. This disproportion can be explained by the fact that Scotland in the XIXth century is no longer an independent state. Such lack of independence influenced its cultural panorama not only in socio-political aspect, but also in educational, linguistic and literary aspects [9, 10]. However, the «old homeland» of English poets and Scottish poets is far from being the same thing for Scottish-Americans [.
In J.D. Crichton's poem The Garden of the Muses, the author compares poets with flowers. Shakespeare - «aloe sweet» («<...> There Shakespeare towers, an aloe sweet, / That bloom'd but once on stately stem <...>»), Chaucer - «ivy» («<...>Dan Chaucer, as the ivy, twines / Around the pedestal of time; <...>»), Pop -«taft» («<...>A tuft of wormwood stands for Pope / (Forgive vex'd shade, th' irreverent fun) <...>»), Milton - «heliotrope» («<...>And Milton as a heliotrope / Turns blue eyes open'd to the sun! <...>»), Byron - «passion-flower» («<...>There Byron burns a passion-flower <...>»), Spencer - «pensive pansy» («<...>And Spenser is a pensive pansy <...>»), Keats - «morning-glory» («<...>Keats morning-glory lasts one hour <...>»), Herbert - «tansy» («<...> Grave Herbert is a bunch of tansy <...>»), Shelley -«lily» («<...>There Shelley blooms without a stain, A lily by a crystal brook <...>»), female poets Hemans and Landon - «violets twain» («<...>Hemans and Landon, violets twain, / Cower modestly in mossy nook <...>»), Wordsworth - «woodbine» («<...>And Wordsworth as the woodbine creeps <...>»), Lam - «hyssop» («<...>And Lamb is hyssop for fair dames <...>»), Hogg - «mountain-daisy» («<...>Hogg as a mountain-daisy peeps <...>»), Swinburne - «tiger-lily» («<...>Swinburne a tiger-lily flames! <...>») [10, p. 197].
The author treats all named characters-poets with obvious sympathy and even admiration. However, the quantitative predominance of English poets over Scottish poets is obvious. The only exceptions are Byron (whom not only the English, but also the Scots consider their national genius [11]) and J. Hogg, a pupil of W. Scott [12]. The rest of the poets are Englishmen.
Nevertheless, in the closing lines the author abruptly changes his perspective and assessment:
«<...> But King of all the garden there
See Burns o'ertop the flowery throng,
And scatter fragrance on the air
The red, red rose of Scottish song» [10 p. 197].
Biographical realias should be taken into account here. Firstly, the author himself was brought up on the works of R. Burns [10, p. 194-201]. Secondly, precisely because of this, despite his outstanding literary awareness, the highest value for him is not literature (even first-class), but the folklore of the «bottom». Apart from W Shakespeare, English poets in this list are not national symbols. But R. Burns exactly is [13-16].
This emblematic nature of R. Burns and his role as the «ambassador of Scotland» in the international environment of the Scottish emigrants explains such a large
number of poems dedicated specifically to him or at least mentioning him [16, p. 147-151].
It is worth noting that such emblematization creates the ethnic specificity of the Scottish emigrational discourse. Poets-national emblems are familiar to many people and cultures. If we confine ourselves only to Europe, we can note the role of W. Shakespeare and C. Dickens for the British, J.V. Goethe for the Germans, A. Mickiewicz for the Poles, Dante Alighieri for the Italians and others.
Another ethno-specific feature is the Scottish perception of culture (in particular poetry) as something natural: not as an artifact, but rather as an element of the native landscape. For example, from comparisons of the quoted text, a «flower garden» of British nature is formed. In this «flower garden» there are plants from a well-kept park (or even from a greenhouse), but also from a semi-wild «natural» garden-forest. Finally, this poetic garden is crowned by a plant that is not the most refined, not even the most beautiful: «red, red rose», more precisely, wild rose. But the rhythm of the final line refers to the famous love song of Scotland, elaborated by Burns («My love is like a red, red rose»). This is the reason of the supremacy of the «wild scarlet rose».
One more outstanding poet-Scotsman is R.L. Stevenson. For non-Scottish readers Stevenson is better known as the author of adventure novels («Treasure Island», «Kidnapped», «Weir of Hermiston», «The Master of Ballantrae», «The Black Arrow», «The Strange Case of Dr. Jekyll and Mr. Hyde») and therefore more of being a writer «for teenagers». To a lesser extent, however, he also gained notable resonance as the author of a philosophical parable (and, at the same time, as one of the founders of the genre of the «horror novel»). He is least known abroad as a poet (the exception is the poetic representation of a Galloway legend in popular ballad «Heather Ale»).
Texts of nineteenth-century Scottish emigrational poetry (particularly in the USA) show that in terms of the frequency of direct references (D.M. Henderson, Robert Louis Stevenson; D. Ramsay, To Duncan MacGregor Crerar, poet, etc.) and the tone with which this author is mentioned, R.L. Stevenson has firmly taken his place as the second classic of Scottish poetry for the global Scottish diaspora.
R.L. Stevenson was close to poets-emigrants on biographical level. There is reason to believe that Stevenson's biography played a major role in this nomination of the poet. All its details fit perfectly into the matrix of the Romantic poet (although chronologically Stevenson is more of a neo-Romantic). This canon also includes the fact that he abandoned his career as a lawyer to write poetry (however, a lawyer in the XIV-XVIIth centuries is a rather traditional profession for a poet]). Also canonical are his youthful wanderings around Scotland which gave him the landscape material for the fictional «Treasure Island».
The main episodes in Stevenson's biography are his forced (because of serious illness) emigration to the distant Samoan islands, his selfless help to the natives, and his early death. His longing for his homeland, his detailed and acute memory of it became not only an artistic feature, but also a fact of life in the poet's biography. This patriotism, paid for with his life, in our opinion, is what made R.L. Stevenson one of the world leaders and world symbols of «Scotland Forever». He also had to leave (for treatment) far beyond the borders of his homeland. He had to experience an acute longing for his native land and despair from the impossibility of returning. Like most of the poets under analysis, he died abroad.
Interesting results are obtained by comparing the poems by Stevenson and the patriotic motifs in the poems about Stevenson. The main (and very sharp) difference between patriotic moods is that Stevenson himself understands the hopelessness of his situation. Therefore, in «Requiem» he dreams of grave «Under the wide and starry sky <...>» [18, p. 88]. So he was buried by the natives of island Samoa, whom he helped all his life. But for Scots-Americans, he was the poet of Scotland. He belonged to Scotland not only spiritually, but also physically. And therefore he must lie in «beautiful Scotland»:
«<...> oh, in bonnie Scotland how fain was he to lie,
The green grass ower him, and the daisies <...»> [17, p. 30].
1. The cycle of poems devoted to Scottish and English poets is numerous which is closely related to the persisting national identity and regionality of thinking of Scottish poets-emigrants.
2. This regionalism is functionally dual. On the one hand, it closed the poets-emigrants within local boundaries. On the other hand, it helped Scottish poets-emigrants to maintain «Scottishness» in the new socio-historical environment.
3. The genres of artistic style, which emphasize the personal, intimate and close, have become genre-style dominants.
4. The poems of the cycle are endowed with common features. They are an emphasis on the autobiographical and biographical nature of lyrical characters, regionalism.
Библиографический список
1. Новикова М.А. Сверхтексты в литературе: жанры и циклы (к постановке проблемы). Ученые записки Крымского федерального университета имени В.И. Вернадского. Филологические науки. Научный журнал. 2018; Т. 4 (70). № 4: 72 - 84.
2. Велилаева Л.Р Эмиграционный и метрополийный дискурсы шотландской поэзии XIXвека. Симферополь: ИП Хотеева Л.В., 2019.
3. Black G.F. Scotland's mark on America. New York: Scottish section of "America's making", 1921.
4. Bumsted J.M. The people's clearance: Highland emigration to British North America 1770-1815. Edinburg: Edinburgh University Press, 1981.
5. Burton J.H. The Scot Abroad. Edinburgh, London: William Blackwood, 1883.
6. Carruthers G. Scottish literature. Edinburgh: Edinburgh University Press, 2009.
7. Craig D. Scottish literature and the Scottish people. 1680-1830. London: Chatto & Windus, 1961.
8. Scots and Scots' descendants in America. New York: Caledonian Publishing Company, 1917.
9. Ross J.D. A cluster of poets Scottish and American, with biographical and critical notices. New York: Walter W. Reid, Publishers, 1897.
10. Ross J.D. Scottish Poets in America with biographical and critical notices. New York: Pagan&Ross, Publishers.
11. Шотландии кровавая луна: Антология шотландской поэзии (с XIII века до века XX). Симферополь: СОНАТ; Крымский Архив, 2007.
12. Scott T. The Penguin book of Scottish Verse. London: Penguin, 1976.
13. Robert Burns and cultural authority. Iowa: University of Iowa Press, 1997.
14. Ross J.D. The Burns Almanac. New York: Walter W. Reid, 1899.
15. Velilaeva L.R. Robert Burns in the poetry of Scottish poets-emigrants of the USA of the XIXth century. Russian Linguistic Bulletin. 2021; № 2 (26). Available at: https://rulb.org/ archive/2-26-2021-june/robert-berns-v-stikhotvoreniiakh-shotlandskikh-poetov-emigranov-ssha-xix-veka
16. Whitman W. Robert Burns as a Poet and a Person. The North American Review. 1886; Vol. 143, № 360: 427-435.
17. Henderson D.M. A bit bookie of verse in the English and Scots tongues. Baltimore: University Book Store, 1905.
18. Stevenson R.L. The complete poems of Robert Louis Stevenson. New York: Charles Scribner's Sons, 1923.
References
1. Novikova M.A. Sverhteksty v literature: zhanry i cikly (k postanovke problemy). Uchenye zapiski Krymskogo federal'nogo universiteta imeni V.I. Vernadskogo. Filologicheskie nauki. Nauchnyj zhurnal. 2018; T. 4 (70). № 4: 72 - 84.
2. Velilaeva L.R. 'Emigracionnyjimetropolijnyjdiskursy shotlandskojpo'eziiXIX veka. Simferopol': IP Hoteeva L.V., 2019.
3. Black G.F. Scotland's mark on America. New York: Scottish section of "America's making", 1921.
4. Bumsted J.M. The people's clearance: Highland emigration to British North America 1770-1815. Edinburg: Edinburgh University Press, 1981.
5. Burton J.H. The Scot Abroad. Edinburgh, London: William Blackwood, 1883.
6. Carruthers G. Scottish literature. Edinburgh: Edinburgh University Press, 2009.
7. Craig D. Scottish literature and the Scottish people. 1680-1830. London: Chatto & Windus, 1961.
8. Scots and Scots' descendants in America. New York: Caledonian Publishing Company, 1917.
9. Ross J.D. A cluster of poets Scottish and American, with biographical and critical notices. New York: Walter W. Reid, Publishers, 1897.
10. Ross J.D. Scottish Poets in America with biographical and critical notices. New York: Pagan&Ross, Publishers.
11. Shotlandii krovavaya luna: Antologiya shotlandskoj po'ezii (s XIII veka do veka XX). Simferopol': SONAT; Krymskij Arhiv, 2007.
12. Scott T. The Penguin book of Scottish Verse. London: Penguin, 1976.
13. Robert Burns and cultural authority. Iowa: University of Iowa Press, 1997.
14. Ross J.D. The Burns Almanac. New York: Walter W. Reid, 1899.
15. Velilaeva L.R. Robert Burns in the poetry of Scottish poets-emigrants of the USA of the XIXth century. Russian Linguistic Bulletin. 2021; № 2 (26). Available at: https://rulb.org/ archive/2-26-2021-june/robert-berns-v-stikhotvoreniiakh-shotlandskikh-poetov-emigranov-ssha-xix-veka
16. Whitman W. Robert Burns as a Poet and a Person. The North American Review. 1886; Vol. 143, № 360: 427-435.
17. Henderson D.M. A bit bookie of verse in the English and Scots tongues. Baltimore: University Book Store, 1905.
18. Stevenson R.L. The complete poems of Robert Louis Stevenson. New York: Charles Scribner's Sons, 1923.
Статья поступила в редакцию 01.12.22
УДК 82.387.06
Vasilyeva T.N., Cand. of Sciences (Philology), senior lecturer, NEFU n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: VTatyanaN@yandex.ru
Emelyanova V.V., student, NEFU n.a. M.K. Ammosov (Yakutsk, Russia), E-mail: vladasannikova0311@mail.ru
ABOUT THE GENRE FORM OF RUBAI IN CREATIVITY SVETLANA EGOROVA-TULUIKHANA (WITH REFERENCE TO THE BOOK "PAUSE"). The article studies peculiarities of the genre form of rubai in the book of a Yakut poetess Svetlana Egorova-Tuluikhana "Pause". The objective of the work is predetermined by a range of specific tasks: the definition of the concept and the study of the history of the appearance of rubai in Yakut poetry; the study of the poetics of rubai in the works of S. Egorova; identification of compliance of the author's rubai with the canons of the classical genre. Forty-five poems in this solid form of lyrics included in the poetry collection "Pause" (2017) are considered. Features of compliance with the canons of the solid form are revealed: following the basic rules (stylistic, stroph-ic and compositional criteria), themes and images, as well as the individual author's specifics of mastering the genre form are considered. The main conclusions of the article can be used in the study of the peculiarities of the development of modern Yakut poetry, can contribute to a deeper study of the development of the national poetry of the experience of world literature in the aspect of genre (strophic) forms.
Key words: Yakut lyrical poetry, solid forms, rubai, Svetlana Egorova.
Т.Н. Васильева, канд. филол. наук, доц., СВФУ имени М.К. Аммосова, г. Якутск, E-mail: VTatyanaN@yandex.ru
В.В. Емельянова, студентка, СВФУ имени М.К. Аммосова, г. Якутск, E-mail: vladasannikova0311@mail.ru
О ЖАНРОВОЙ ФОРМЕ РУБАИ В ТВОРЧЕСТВЕ СВЕТЛАНЫ ЕГОРОВОЙ-ТУЛУЙХАНЫ (НА ПРИМЕРЕ СБОРНИКА «ПАУЗА»)
Данная статья посвящена изучению особенностей жанровой формы рубаи в творчестве якутской поэтессы Светланы Егоровой-Тулуйханы на примере сборника "Пауза". Поставленной в работе целью предопределен круг конкретных задач: определение понятия и изучение истории появления рубаи в якутской поэзии; исследование поэтики рубаи в творчестве С. Егоровой; выявление соответствия авторских рубаи канонам классического жанра. Рассмотрены сорок пять стихотворений в данной твердой форме лирики, вошедшие в поэтический сборник «Пауза» (2017). Выявлены особенности соответствия канонам твердой формы: следование основным правилам (стилистические, строфические и композиционные критерии), темы и образы, а также рассмотрена индивидуально-авторская специфика освоения жанровой формы. Основные выводы статьи могут быть использованы при изучении особенностей развития современной якутской поэзии, способствовать более глубокому исследованию освоения национальной поэзией опыта мировой литературы в аспекте жанровых (строфических) форм.
Ключевые слова: якутская лирическая поэзия, твердые формы, рубаи, Светлана Егорова.
Появление традиций мировой литературы в национальной поэзии свидетельствует о ее развитии, выходе на качественно другой уровень. Так, твердая жанровая форма, состоящая из четверостиший - рубаи - появилась в русской литературе в 1928 г [1, с. 34]. В якутской литературе она привлекла внимание поэтов в 1960-е гг и получила дальнейшее развитие в творчестве некоторых авторов с 1980-х гг.
Появление новых стихотворных форм в интеллектуальной, философской лирике, в том числе такого жанра, как рубаи, всегда является результатом теоретического осмысления и эволюции художественного мышления. В последнее время особый интерес читателей представляют стихи Светланы Георгиевны
Егоровой-Тулуйханы, выпустившей первый сборник рубаи в якутской женской лирике.
Цель работы: определить особенности жанровой формы рубаи в творчестве Светланы Егоровой-Тулуйханы.
Поставленной в работе целью предопределен круг конкретных задач:
1) определение понятия и изучение истории появления рубаи в якутской поэзии;
2) исследование поэтики рубаи в творчестве Светланы Егоровой-Тулуй-
ханы;
3) выявление соответствия авторских рубаи канонам классического жанра.
