Екокритичний аспект дикості у поетичному циклі Олега Лишеги "Снігові і вогню"

Abstract

У статті проаналізовано категорію дикості в поезії Олега Лишеги. Екокритична категорія дикості – як протилежність до цивілізованого, обжитого, людського – дає змогу окреслити основні ознаки лісу у поезії Лишеги як дикого, непередбачуваного, тваринного, магічного простору. Близька взаємодія суб’єкта лірики із лісовим ландшафтом створює глибшу ідентичність дикого лісу, який, отримавши голос, промовляє у тексті. Надзвичайно важливим для поета є збереження неприрученості, гармонійне співіснування світу природи і світу людей.

This article analyzes ecocritical category of wilderness in the poetry of Oleh Lysheha. Close interaction of Oleh Lysheha with forest in a real life leads to actualization of the image of forest in his poetry. A reader discovers an opposition between a lyrical subject and wild forest. This antinomy as well as opposition “culture – nature” arises from the very definition of nature. The nature is also characterized as nonhuman world and is opposed to culture (T. Clark). In the conversation with Taras Prokhasko, Oleh Lysheha admits the idea of wildness, which is extremely significant for him. The idea of wild space has been widely discussed in ecocriticism. In different times, it was marked with antinomies “civilized – wild,” “controlled – unexpected,” “known – unknown,” “useful – unnecessary,” “human – animal” (R. Harrison). The poetry of Oleh Lysheha demonstrated a number of examples of such a differentiation. A lyrical subject of a poem “Kunytsia” (“Marten”) finds himself lost in a thicket among rotten stems and reserved lair. Sometimes wild space is isolated from the human universe by such a subject as house or “a mound that symbolically fenced off a forest from the humans with its bank...”. Wild forest in the poetry of O. Lysheha receives its own voice. As a poet is startled to see a wild turtle and carnations in the place where they would never be, the forest appears as an unexpected space. The magic forest can also undergo metamorphoses as it long and obediently follows a man (“Kunytsia” (“Marten”)). The animals return to wild spaces, and in this way, they ensure their right to their animal space (“Martyn” (“Larus”)). People attend nature spots when they feel a lust for wildness. It creates harmony of coexistence between nature and human worlds and defines Lysheha’s conception of forest symbiosis.