Guide-guide on Ukrainian literature for high school students and entrants.

There is much more to be said about Lina Kostenko. Her poetry makes an unforgettable impression "Pastoral care of the XX century" "Fate" "Forest" "White symphony" "The ballad of my nights" "Psalms of David" etc.

But no matter what work we talk about, we see that before us is a real lyricist, who so skillfully combines wisdom and passion, magical lightness and philosophical depth, reflection and generalization. And all this for the sake of man, for the sake of his future:

I profess a faith in which the halo is surrounded not by saints, not by prophets, but simply by happy people.

Lina Kostenko is not only an honest, but also a fearlessly interesting and intensely thinking artist. That is why she has a tight framework of idyll, pastoral. She "upsets" these genres from the middle.

"Pastoral care of the XX century" – so called one of her poems. Three cowgirls – "snub-nosed rural argonauts" – found and disassembled a grenade. Explosion …

… And they were carried by their grandfathers, who did not want to live. Under the mountain stood a pregnant mother, like a field. And the mother shouted: -Although show his face …

The poet is traditionally given air possessions. But perhaps what seems to us in the summer is also plowing? Maybe the sky – "blue earth" which swallows cut, without a plow, with their sharp wings? The poet cultivates his heavenly possessions with a peasant conscience.

And the poet must have his own home.

"Where you live?" This is perhaps the only question the poet should ask. After all, this question is about the sources, and about the roots, and about what keeps you alive, gives you the strength to fly …

Man can be close in the universe, but not under his roof. Home is the world when it is a real home …

The old bell tower still catches hawks. Dancing chain on a rye stream. Well, what about magnolias, agaves? I’ll kiss the mallow on the cheek, –

Lina Kostenko writes with a soft smile. And you understand that her poetic house is firmly and reliably inhabited. She’s fine here, "over the banks of the eternal river" in the forests, "such pine trees" in the villages, these are wreaths of amber bulbs adorn each mound, on the Chernihiv road, where

From the highway for two meters all wrapped up in what is, the grandmother sits, as Demeter, in buckets sells carrots …

There are features of poetic vision. And hearing. When Lina Kostenko, after kissing a mallow on the cheek with constant tenderness, buy best compare and contrast essay now finds herself in Europe for a while, she wakes up before dawn in a modern hotel. "some cosmic sound":

And then an ordinary European uncle was mowing the grass under our windows.

The whistling of a scythe cutting the grass is normal "rustic sound" – here, under the window of a modern hotel in Europe, can really look for "space" with surprises. But it would not be surprising if, looking out the window, Lina Kostenko saw not only "an ordinary European uncle" and the chain that dances on the current, and the mallow … Because when the poet feels, loves and understands nature, she follows him. Lina Kostenko has her own inner world. And she remains true to herself everywhere.

Lina Kostenko undertook the obligation to put her contemporaries before the norms developed by mankind over the centuries, to reflect on the essence of her own life, to focus on realizing herself as the son of the Ukrainian land. Sharply, uncompromisingly, without deviating from her ideals, she comprehends in her poetic works the modern problems connected with the spiritual decline of people. Punishes janissary, betrayal, apostasy. Of course, due to her position as a poet-patriot, Lina Kostenko was in opposition to the official authorities of the totalitarian Soviet society. The motto of this confrontation was the words:

The artist does not need awards, His destiny has rewarded. When a man has a people, then he is already a man.

In her poems, Lina Kostenko sees specific culprits of moral and spiritual degradation of people. This is "nomenclature fools, bureaucrats, flat murmurs in the squaring of frames" that is, the entire Soviet system. Communist ideologues appear at the behest of the baton "artists adjust the step" people are uninitiated, weak. The poet writes about them:

Stupid remigaylivka will! You have been left with a soul of nonsense. You have dissolved the calabashes of fear on all the spiritual highways of the age.

With great anxiety Lina Kostenko calls us to live in harmony and love. As a testament, her words sound: "Do not back down and do not put a lie on the strings"… We cannot deny the high ideals of our ancestors, our own culture and language. The problems of language are raised by the poetess in several of her poems. The most dramatic in poetry "The pain of a single weapon" is that native "tragic language" coffin "not only enemies, but also children are comforted"… There are many such orphans even today "on our – not a foreign land"… This poetry is strong belief of the poetess that the spirit of the people and its language can not kill anyone:

Immortal language! You laugh bitterly. You can’t fit in that coffin, by the way. They are fools, they have taken the measure of your humiliations – not of your greatness.

In poetry "Fascinate me, magi!" the poet was interested in the question "what would Shevchenko write in 33-37?"… Of course, the poet does not question the stability of Shevchenko, his morale. Therefore, in her opinion, "having visited Kosaral, I would have also visited Solovki"… In poetry, the author follows the course of history:

Hardened, latticed, covered with earth, snow, flint, he would still be rehabilitated, albeit posthumously, but in a timely manner.

And how did their contemporaries perceive the oppression and repression of Kosynka, Kulish, and Kurbas in the 1930s? Silently. The harm caused to Stus, Svitlichny, Sneg was silencedroar, Litvin, Quiet in the 60’s. "As silence will ensnare the soul, then what the hell am I a poet" – the poet reminds herself of her civic conscience. And flowers from her fell at the feet of the sixties in the courtroom, where she was forcibly removed by Soviet police.

Lina Kostenko’s poetry warns us against losing our historical memory. This idea is especially pronounced in her novel in verse "Marusya Churai"… The image of Marusya merges with the image of Ukraine, which signals through the centuries: remember your descendants, your glorious history, and only then will you be strong and known in the world.

Lina Kostenko’s poetry artistically comprehends universal values, makes one think about what a person leaves behind. Thoughts about true values, about the meaning of life, spirituality and spirituality are broken in the poem "The future has probably already begun"… Here we read: "Look for the smile of the Mona Lisa, it will never pass"… When understanding the transience of material values, one should always keep in mind the spiritual ones: beauty, art, love for people, love and fidelity to the homeland.

Uncompromising is the password of Lina Kostenko’s poetry. Her poetry is a concentration of thought, severity, modernity. The poet has no impulsive simplification of vocabulary. First of all, it is an example of noble service to literature, it is strict taste. A characteristic feature of all of Lina Kostenko’s poetry is anthropology in two dimensions: Van Gogh, Catherine II, A. Block, J. D’Arc, and on the other, father, mother, and grandfather.

Lina Kostenko’s books restore our faith in the word. Needless to say, the poet’s position has taught and continues to teach to be faithful to his talent and vocation under all circumstances. Because, as she writes in one of the poems, – "There was no era for poets yet …"

All this and dear to us Lina Kostenko – our contemporaries.

References

1. Bryukhovetsky VS Lina Kostenko. – Kyiv: Dnipro, 1990.

2. Poetry L. Kostenko, O. Oles, V. Symonenko, V. Stus. – K.: Naukova Dumka, 1998.

3. Ukrainian literature of the twentieth century: A textbook for teachers and students of 10-11 grades of secondary schools. – Kyiv: Ukrainian writer, 1993.

4.250 best works on Ukrainian literature. – Kharkiv: Osnova, 1997.

5. Nechvolod LI Manual-guide on Ukrainian literature for high school students and entrants. – Kharkiv, 1996.

17.09.2011

Ukrainian dancer and choreographer Vasyl Avramenko. Abstract

Possessing a great inner reincarnation, plasticity of the body, facial expressions, great technique, he created impressive images "Shingles" "Chumaka" Uida from "The lament of israel"… V. Avramenko is a great Ukrainian patriot who fought for the freedom of Ukraine by means of art, glorifying it in his dances.

The name of Vasyl Avramenko, his Gift, is one of the rays of the great Sun on the celestial vault of our earth, the light of which Ukrainian choreography had never felt before.

Ukraine, which was called in the world "The cradle of folk melodies" "The capital of lyrical song" presented us with Vasyl Avramenko – an outstanding choreographer of world fame, director, actor, ethnographer, great orator, great patriot of Ukraine.

His talent was applauded by Europe, America, Canada, Australia. Through creative genius, the world learned about Ukrainian art and its history. Apparently, the family wrote to our people that her best sons were forced to wander, working abroad, and their names were erased from their native history.

Let us recall O. Arkhipenko, O. Koshyts, M. Golynsky, Bashkirtsev, O. Oles, and J. Barnych. And next to it is the glorious name of V. Avramenko, who was for Ukraine "classified"… He is the son of those lands where the Cossack will once raged, where the spirit of knights – glorious Cossacks – hovered. A great choreographer was born on Cherkasy land in Stebliv on March 22.1895. He completed three-year teacher’s courses, courses for non-commissioned officers. During the First World War in Minsk he met S. Petliura, became a great propagandist of the Ukrainian idea, and addressed the soldiers as an ardent patriot of Ukraine. His oratory skills touch the soldiers, excite their Ukrainian hearts.

On the advice of Petliura, Vasyl Avramenko entered the Kyiv State School. Lysenko and under the direction of M. Verkhovynets studies Ukrainian dance, which has long troubled his soul. After the institute he worked in the Stadnik Theater in Stanislav, later in the M. Sadovsky Theater in Kamyanets-Podilsk. He records ancient dances from actors in the theater.

Observing folk dances performed beautifully by Sadovsky, under the influence of M. Verkhovynets’ lectures Avramenko plans to revive Ukrainian dance, to take it to the heights to which its original, crystal clear beauty and aesthetics would return. The renaissance of Ukrainian choreographic art begins with V. Avramenko. He brings Ukrainian dance as a separate genre of culture.

He is the first who plans to create a school of Ukrainian folk dance all over Ukraine. But the tragic days in Ukraine did not allow Avramenko to carry out his plans. The Ukrainian government is forced to leave Ukraine.