ISSN 1427-549X
Olga Barasz Moskwa
ɉɨɥɶɫɤɢɣ ɤɨɦɩɨɧɟɧɬ ɜ ɩɨɷɬɢɤɟ ɂɨɫɢɮɚ Ȼɪɨɞɫɤɨɝɨ
ɉɪɢɫɬɪɚɫɬɢɟ ɂ. Ȼɪɨɞɫɤɨɝɨ ɤ ɚɧɝɥɢɣɫɤɨɦɭ ɹɡɵɤɭ ɢ ɚɧɝɥɨɹɡɵɱɧɨɣ ɩɨɷɡɢɢ, ɪɚɜɧɨ ɤɚɤ ɟɝɨ ɞɜɭɹɡɵɱɢɟ ɜ ɚɦɟɪɢɤɚɧɫɤɢɣ ɩɟɪɢɨɞ ɬɜɨɪɱɟɫɬɜɚ, ɩɪɨɜɨɰɢɪɭɟɬ ɦɧɨɝɢɯ ɢɫɫɥɟ- ɞɨɜɚɬɟɥɟɣ ɧɚ ɩɨɢɫɤɢ ɜ ɟɝɨ ɪɭɫɫɤɢɯ ɬɟɤɫɬɚɯ ɫɥɟɞɨɜ ɚɧɝɥɢɣɫɤɨɣ ɩɪɨɫɨɞɢɢ ɢ, ɤɨɧɟɱɧɨ ɠɟ, ɢɧɬɟɪɬɟɤɫɬɭɚɥɶɧɵɯ ɫɜɹɡɟɣ ɫ ɚɧɝɥɢɣɫɤɨɣ ɩɨɷɡɢɟɣ. Ȼɪɨɞɫɤɢɣ ɜ ɢɧɬɟɪɜɶɸ ɢ ɷɫɫɟ ɫɚɦ ɩɨɪɨɣ ɧɚɜɨɞɢɬ ɱɢɬɚɬɟɥɹ ɧɚ ɩɨɞɨɛɧɵɟ ɞɨɝɚɞɤɢ, ɩɪɚɜɞɚ, ɧɟɪɟɞɤɨ ɫɥɟɞ ɨɤɚɡɵɜɚ- ɟɬɫɹ ɥɨɠɧɵɦ.
ɉɪɢɫɬɚɥɶɧɨɟ ɩɪɨɱɬɟɧɢɟ Ȼɪɨɞɫɤɨɝɨ ɩɨɤɚɡɵɜɚɟɬ, ɱɬɨ ɚɧɝɥɨ-ɚɦɟɪɢɤɚɧɫɤɨɟ ɜɨɡ- ɞɟɣɫɬɜɢɟ ɧɟ ɬɚɤ ɡɧɚɱɢɬɟɥɶɧɨ, ɤɚɤ ɜɥɢɹɧɢɟ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ ɢ, ɜɨɡɦɨɠɧɨ, ɩɨɥɶɫɤɨɝɨ ɹɡɵɤɚ – ɩɟɪɜɨɝɨ ɢɧɨɫɬɪɚɧɧɨɝɨ, ɤɨɬɨɪɵɦ ɨɧ ɨɜɥɚɞɟɥ ɞɨɫɬɚɬɨɱɧɨ ɪɚɧɨ. ȼɥɢɹɧɢɟ ɷɬɨ ɦɨɠɧɨ ɩɪɨɫɥɟɞɢɬɶ ɧɚ ɪɚɡɧɵɯ ɭɪɨɜɧɹɯ ɬɟɤɫɬɚ ɧɚ ɜɫɟɯ ɷɬɚɩɚɯ ɮɨɪɦɢɪɨɜɚɧɢɹ ɢ ɮɭɧ- ɤɰɢɨɧɢɪɨɜɚɧɢɹ ɢɞɢɨɫɬɢɥɹ ɩɨɷɬɚ.
ȼ ɥɢɬɟɪɚɬɭɪɟ ɨ Ȼɪɨɞɫɤɨɦ ɜɨɩɪɨɫ ɨ ɩɨɥɶɫɤɨɦ ɜɥɢɹɧɢɢ ɧɚ ɬɜɨɪɱɟɫɬɜɨ ɩɨɷɬɚ ɡɚ- ɬɪɚɝɢɜɚɥɫɹ ɧɟɨɞɧɨɤɪɚɬɧɨ, ɨɞɧɚɤɨ, ɤɚɤ ɩɪɚɜɢɥɨ, ɥɢɲɶ ɩɨɜɟɪɯɧɨɫɬɧɨ; ɷɬɚ ɩɪɨɛɥɟɦɚ ɧɟ ɥɟɠɢɬ ɜ ɫɮɟɪɟ ɧɟɩɨɫɪɟɞɫɬɜɟɧɧɵɯ ɢɧɬɟɪɟɫɨɜ ɢɫɫɥɟɞɨɜɚɬɟɥɟɣ, ɤɚɤ ɪɨɫɫɢɣɫɤɢɯ, ɬɚɤ ɢ ɩɨɥɶɫɤɢɯ1.
ɗ. ɇɢɤɚɞɟɦ-Ɇɚɥɢɧɨɜɫɤɚɹ, ɩɪɨɬɢɜɧɢɰɚ ɬɨɝɨ, ɱɬɨ ɨɧɚ ɧɚɡɵɜɚɟɬ „wpáywologia”, ɬɨ ɟɫɬɶ ɩɪɢɦɟɧɟɧɢɹ ɫɚɦɨɝɨ ɩɨɧɹɬɢɹ «ɜɥɢɹɧɢɟ» ɤ ɬɜɨɪɱɟɫɬɜɭ Ȼɪɨɞɫɤɨɝɨ, ɫɱɢɬɚɟɬ:
„To, Īe swoistym medium staáa siĊ Polska, to czysty przypadek. W koĔcu setki leningrad- czyków czytaáy, tak jak Brodski, polskie kryminaáy, wielkim poetą zostaá tylko on”2.
Ɉɞɧɚɤɨ Ȼɪɨɞɫɤɢɣ, ɤɚɤ ɢɡɜɟɫɬɧɨ, ɱɢɬɚɥ ɧɚ ɩɨɥɶɫɤɨɦ ɧɟ ɬɨɥɶɤɨ ɢ ɧɟ ɫɬɨɥɶɤɨ ɞɟɬɟɤɬɢɜɵ, ɫɤɨɥɶɤɨ ɩɨɷɡɢɸ. Ʉɪɭɝ ɟɝɨ ɩɨɥɶɫɤɨɝɨ ɱɬɟɧɢɹ ɨɬɱɚɫɬɢ ɢɡɜɟɫɬɟɧ ɫ ɟɝɨ ɫɨɛɫɬɜɟɧɧɵɯ ɫɥɨɜ. ȼ ɪɚɡɧɵɯ ɢɧɬɟɪɜɶɸ ɢ ɷɫɫɟ ɨɧ ɭɩɨɦɢɧɚɟɬ ɬɚɤɢɯ ɚɜɬɨɪɨɜ, ɤɚɤ Ɇ. Ɋɟɣ, Ɇ. ɋɟɦɩ-ɒɚɠɢɧɶɫɤɢɣ, ɐ. Ʉ. ɇɨɪɜɢɞ, ɘ. Ɍɭɜɢɦ, Ʉ. ɂ. Ƚɚɥɱɢɧɫɤɢɣ, Ʌ. ɋɬɚɮɮ, ȿ. ɏɚɪɚɫɵɦɨɜɢɱ, Ɇ. əɫɬɪɭɧ, ɋ. Ƚɪɨɯɨɜɹɤ, Ɍ. Ɋɭɠɟɜɢɱ, ɧɟ ɝɨɜɨɪɹ ɭɠɟ ɨ ɬɟɯ, ɤɨɝɨ ɧɟɨɞɧɨɤɪɚɬɧɨ ɧɚɡɵɜɚɥ „ɜɟɥɢɤɢɦɢ ɩɨɷɬɚɦɢ”: ɑ. Ɇɢɥɨɲɟ, Ɂ. ɏɟɪɛɟɪɬɟ ɢ ȼ. ɒɢɦɛɨɪɫɤɨɣ. Ʉɫɬɚɬɢ, ɜ ɷɫɫɟ Ʉɚɤ ɱɢɬɚɬɶ ɤɧɢɝɢ ɜ ɱɢɫɥɨ ɜɟɥɢɤɢɯ ɩɨɥɶɫɤɢɯ ɩɨɷɬɨɜ ɨɧ ɜɤɥɸɱɢɥ ɢ Ʌ. ɋɬɚɮɮɚ.
1 Ʉɪɚɬɤɢɣ ɨɛɡɨɪ ɥɢɬɟɪɚɬɭɪɵ ɩɨ ɬɟɦɟ ɫɦ. ɜ: Ɉ.ə. Ȼɚɪɚɲ, Ɉ „ɩɨɥɶɫɤɨɦ ɬɟɤɫɬɟ” ɂɨɫɢɮɚ Ȼɪɨɞɫɤɨɝɨ (ɤ ɩɨɫɬɚɧɨɜɤɟ ɜɨɩɪɨɫɚ), [ɜ:] ɀɚɧɪ. ɋɬɢɥɶ. Ɉɛɪɚɡ. Ⱥɤɬɭɚɥɶɧɵɟ ɜɨɩɪɨɫɵ ɬɟɨɪɢɢ ɢ ɢɫɬɨɪɢɢ ɥɢɬɟɪɚɬɭɪɵ:
ɦɟɠɜɭɡɨɜɫɤɢɣ ɫɛɨɪɧɢɤ ɫɬɚɬɟɣ, ȼɹɬȽɍ, Ʉɢɪɨɜ 2013, ɫ. 81-90.
2 E. Nikadem-Malinowska, Poezja i myĞl. TwórczoĞü Josifa Brodskiego jako fakt europejskiego dziedzictwa kulturowego, Wyd. UMW, Olsztyn 2004, ɫ. 29.
ȼ ɛɢɛɥɢɨɬɟɤɟ Ȼɪɨɞɫɤɨɝɨ, ɧɚɯɨɞɹɳɟɣɫɹ ɜ ɋɚɧɤɬ-ɉɟɬɟɪɛɭɪɝɟ, ɢɦɟɸɬɫɹ ɫɥɟɞɭɸ- ɳɢɟ ɤɧɢɝɢ ɩɨɥɶɫɤɢɯ ɚɜɬɨɪɨɜ: „Biaáoszewski Miron, Broniewski Wáadysáaw, Brzechwa Jan, Damian Dominik, GaáczyĔski, Grochowiak Stanisáaw , Mickiewicz Adam, Norwid Cyprian, Pollak Severyn, Pollakówna Joanna (ɫ ɞɚɪɫɬɜɟɧɧɨɣ ɧɚɞɩɢɫɶɸ), RóĪewicz Tadeusz, Tomaszewska Marta, Zonszajn Jakub”3, ɩɪɢ ɷɬɨɦ ɫɥɟɞɭɟɬ ɩɨɦɧɢɬɶ, ɱɬɨ ɦɧɨɝɢɟ ɤɧɢɝɢ Ȼɪɨɞɫɤɢɣ ɩɟɪɟɞ ɨɬɴɟɡɞɨɦ ɢɡ ɋɋɋɊ ɪɚɡɞɚɪɢɥ ɞɪɭɡɶɹɦ. ɇɟɥɢɲɧɟ ɨɬɦɟɬɢɬɶ, ɱɬɨ ɫɪɟɞɢ ɞɪɭɡɟɣ Ȼɪɨɞɫɤɨɝɨ ɜ ɞɨɷɦɢɝɪɚɧɬɫɤɢɣ ɩɟɪɢɨɞ ɛɵɥɢ ɩɨɥɹɤɢ (Ɂ. Ʉɚɩɭɳɢɧɶɫɤɚɹ-Ɋɚɬɚɣɱɚɤ, Ʌ. Ɂɚɜɚɞɫɤɢɣ, Ⱥ. Ⱦɪɚɜɢɱ) ɢ ɡɧɚɬɨɤɢ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ (Ɍ. ȼɟɧɰɥɨɜɚ), ɚ ɜ ɱɢɫɥɨ ɟɝɨ ɩɨɥɶɫɤɢɯ ɡɧɚɤɨɦɵɯ ɜɯɨɞɢɥɢ ɥɢɬɟɪɚɬɨɪɵ ɋ. ɉɨɥɥɹɤ, ɂ. ɉɨɥɥɹɤɭɜɧɚ, ȼ. ȼɨɪɨɲɢɥɶɫɤɢɣ, ȼ. Ⱦɨɦɛɪɨɜɫɤɢɣ, Ɂ. ɀɚɤɟɜɢɱ, ȿ. ɋɟɦɚɲɤɟɜɢɱ, ɂ. Ƚɪɭɞɡɢɧɶɫɤɚɹ-Ƚɪɨɫɫ, ɚ ɬɚɤɠɟ ɚɤɬɟɪ ȼ. ɋɟɦɢɨɧ.
ȼ ɫɬɚɬɶɟ ɉɨɞ ɜɥɢɹɧɢɟɦ?, ɩɨɫɜɹɳɟɧɧɨɣ „ɨɬɧɨɲɟɧɢɹɦ ɦɟɠɞɭ ɩɨɷɬɨɦ ɢ ɫɬɪɚɧɨɣ (ɂɨɫɢɮɨɦ Ȼɪɨɞɫɤɢɦ ɢ ɉɨɥɶɲɟɣ)” ɂ. Ƚɪɭɞɡɢɧɶɫɤɚɹ-Ƚɪɨɫɫ ɨɬɦɟɱɚɟɬ: „ȼɫɟ ɢɡɜɟɫɬɧɵɟ ɨɬɡɵɜɵ Ȼɪɨɞɫɤɨɝɨ ɨ ɉɨɥɶɲɟ ɫɨɞɟɪɠɚɬɫɹ ɜ ɟɝɨ ɜɵɫɬɭɩɥɟɧɢɹɯ ɢ ɢɧɬɟɪɜɶɸ. Ɇɟɠɞɭ ɬɟɦ ɤɪɚɣɧɟ ɦɚɥɨ ɜɧɢɦɚɧɢɹ ɭɞɟɥɟɧɨ ɷɬɨɣ ɫɬɪɚɧɟ ɢɥɢ ɟɟ ɤɭɥɶɬɭɪɟ ɜ ɞɜɭɯ ɝɥɚɜɧɟɣɲɢɯ ɫɟɤɬɨɪɚɯ ɬɜɨɪɱɟɫɬɜɚ Ȼɪɨɞɫɤɨɝɨ: ɩɨɷɡɢɢ ɢ ɷɫɫɟɢɫɬɢɤɟ”4.
Ɇɨɠɧɨ ɥɢ ɝɨɜɨɪɢɬɶ ɨ ɫɩɟɰɢɮɢɱɟɫɤɨɦ „ɩɨɥɶɫɤɨɦ ɬɟɤɫɬɟ” ɜ ɩɨɷɡɢɢ Ȼɪɨɞɫɤɨɝɨ?
Ɍɟɪɦɢɧ ȼ. ɇ. Ɍɨɩɨɪɨɜɚ „ɩɟɬɟɪɛɭɪɝɫɤɢɣ ɬɟɤɫɬ” ɛɵɥ ɩɨɞɯɜɚɱɟɧ ɢɫɫɥɟɞɨɜɚɬɟɥɹɦɢ ɢ ɞɚɜɧɨ ɩɪɢɦɟɧɹɟɬɫɹ ɩɨ ɨɬɧɨɲɟɧɢɸ ɤ ɞɪɭɝɢɦ ɥɨɤɭɫɚɦ, ɩɨɦɢɦɨ ɉɟɬɟɪɛɭɪɝɚ. Ɍɚɤ, ɜ ɥɢɬɟɪɚɬɭɪɟ ɨ Ȼɪɨɞɫɤɨɦ ɩɪɢɦɟɧɢɬɟɥɶɧɨ ɤ ɟɝɨ ɬɜɨɪɱɟɫɬɜɭ ɦɨɠɧɨ ɜɫɬɪɟɬɢɬɶ ɭɩɨɦɢ- ɧɚɧɢɹ „ɤɟɧɢɝɫɛɟɪɝɫɤɨɝɨ ɬɟɤɫɬɚ”, „ɜɟɧɟɰɢɚɧɫɤɨɝɨ ɬɟɤɫɬɚ”, „ɥɢɬɨɜɫɤɨɝɨ ɬɟɤɫɬɚ” ɢ ɬ.ɩ.
„ɉɨɥɶɫɤɢɣ ɬɟɤɫɬ” ɤɚɤ ɫɨɜɨɤɭɩɧɨɫɬɶ ɬɟɤɫɬɨɜ, ɫɜɹɡɚɧɧɵɯ ɫ ɉɨɥɶɲɟɣ, ɜ ɧɚɫɥɟɞɢɢ ɩɨɷɬɚ ɞɟɣɫɬɜɢɬɟɥɶɧɨ ɧɟɜɟɥɢɤ: ɷɬɨ ɱɟɬɵɪɟ ɪɭɫɫɤɢɯ ɫɬɢɯɨɬɜɨɪɟɧɢɹ ɞɨɷɦɢɝɪɚɧɬɫɤɨɝɨ ɩɟɪɢɨɞɚ (1 ɫɟɧɬɹɛɪɹ 1939 ɝɨɞɚ, ɉɟɫɟɧɤɚ („ɉɨ ɯɨɥɦɚɦ ɩɨɞɧɟɛɟɫɶɹ…”), ɉɨɝɪɚɧɢɱ- ɧɨɣ ɜɨɞɨɣ ɧɚɥɢɜɚɟɬɫɹ ɤɭɫɬ..., ȼɫɟ ɞɚɥɶɲɟ ɨɬ ɬɜɨɟɣ ɫɬɪɚɧɵ...), ɨɞɧɨ, ɧɚɩɢɫɚɧɧɨɟ ɜ ɷɦɢɝɪɚɰɢɢ ɩɨ-ɪɭɫɫɤɢ (ɉɨɥɨɧɟɡ: ɜɚɪɢɚɰɢɹ), ɢ ɨɞɧɨ ɚɧɝɥɢɣɫɤɨɟ (A Martial Law Carol). Ʉɪɨɦɟ ɬɨɝɨ, ɜɨɨɛɪɚɠɚɟɦɚɹ „ɉɨɥɶɲɚ” ɹɜɥɹɟɬɫɹ ɦɟɫɬɨɦ ɞɟɣɫɬɜɢɹ ɚɧɝɥɢɣɫ- ɤɨɝɨ ɫɬɢɯɨɬɜɨɪɟɧɢɹ Anti-Shenandoah; ɚ „ɩɨɥɶɫɤɚɹ ɝɪɚɧɢɰɚ” ɜɫɤɨɥɶɡɶ ɭɩɨɦɢɧɚɟɬɫɹ ɜ ɗɤɥɨɝɟ 5-ɣ (ɥɟɬɧɟɣ); „ɪɟɱɶ ɩɨɥɶɫɤɚɹ”, ɬɚɤɠɟ ɜɫɤɨɥɶɡɶ ɢ ɤɚɤ ɛɵ ɜ ɲɭɬɤɭ – ɜ ɫɬɢɯɨɬ- ɜɨɪɟɧɢɢ ɉɨɦɧɢɲɶ ɫɜɚɥɤɭ ɜɟɳɟɣ ɧɚ ɠɟɥɟɡɧɨɦ ɫɬɭɥɟ... ɑɚɫɬɢɱɧɨ ɩɨɥɶɫɤɚɹ ɬɟɦɚɬɢɤɚ ɩɪɢɫɭɬɫɬɜɭɟɬ ɜ ɩɨɷɦɟ Ɂɨɮɶɹ. Ɉɬɦɟɬɢɦ, ɱɬɨ ɜɫɟ ɷɬɢ ɬɟɤɫɬɵ (ɤɪɨɦɟ ɞɜɭɯ ɩɨɫɥɟɞɧɢɯ ɢ Ɂɨɮɶɢ) ɢɦɟɸɬ ɢɫɬɨɪɢɱɟɫɤɭɸ ɢɥɢ ɩɨɥɢɬɢɱɟɫɤɭɸ ɩɨɞɨɩɥɟɤɭ: ɞɜɚ ɩɟɪɜɵɯ ɩɨɫɜɹ- ɳɟɧɵ ȼɬɨɪɨɣ ɦɢɪɨɜɨɣ ɜɨɣɧɟ, ɬɪɟɬɶɟ ɢ ɱɟɬɜɟɪɬɨɟ – „ɠɟɥɟɡɧɨɦɭ ɡɚɧɚɜɟɫɭ”, ɩɹɬɨɟ ɢ ɲɟɫɬɨɟ – ɜɨɟɧɧɨɦɭ ɩɨɥɨɠɟɧɢɸ ɜ ɉɨɥɶɲɟ, ɫɟɞɶɦɨɟ – ɩɪɨɩɚɫɬɢ ɦɟɠɞɭ „ɡɚɩɚɞɧɵɦ”
ɢ „ɜɨɫɬɨɱɧɵɦ” ɫɨɡɧɚɧɢɟɦ.
Ɍɟɦ ɧɟ ɦɟɧɟɟ ɭ ɧɚɫ ɧɟ ɜɵɡɵɜɚɟɬ ɫɨɦɧɟɧɢɣ ɫɭɳɟɫɬɜɨɜɚɧɢɟ ɜ ɩɨɷɬɢɤɟ Ȼɪɨɞɫ- ɤɨɝɨ ɜɵɪɚɠɟɧɧɨɝɨ ɩɨɥɶɫɤɨɝɨ ɤɨɦɩɨɧɟɧɬɚ, ɬɨ ɟɫɬɶ ɦɨɳɧɨɝɨ „ɩɨɥɶɫɤɨɝɨ” ɩɥɚɫɬɚ, ɩɪɨɹɜɥɹɸɳɟɝɨɫɹ ɧɚ ɪɚɡɧɵɯ ɭɪɨɜɧɹɯ – ɬɟɦɚɬɢɱɟɫɤɨɦ, ɦɨɬɢɜɧɨɦ, ɥɟɤɫɢɱɟɫɤɨɦ, ɫɬɪɭɤɬɭɪɧɨɦ, ɩɪɨɫɨɞɢɱɟɫɤɨɦ – ɢ ɩɪɢɫɭɬɫɬɜɭɸɳɟɝɨ ɧɚ ɜɫɟɯ ɷɬɚɩɚɯ ɮɨɪɦɢɪɨɜɚɧɢɹ
3 ɋɨɨɛɳɟɧɨ ɂ.A.ɋɧɟɝɢɪɟɜɵɦ ɜ ɱɚɫɬɧɨɦ ɩɢɫɶɦɟ ɚɜɬɨɪɭ ɫɬɚɬɶɢ.
4 ɂ. Ƚɪɭɞɡɢɧɫɤɚɹ-Ƚɪɨɫɫ, ɉɨɞ ɜɥɢɹɧɢɟɦ? ɂ. Ȼɪɨɞɫɤɢɣ ɢ ɉɨɥɶɲɚ, „Ʌɢɬɟɪɚɬɭɪɧɨɟ ɨɛɨɡɪɟɧɢɟ” 2001, ʋ 2, [online] <http://magazines.russ.ru/slo/2001/2>.
ɢ ɮɭɧɤɰɢɨɧɢɪɨɜɚɧɢɹ ɢɞɢɨɫɬɢɥɹ ɩɨɷɬɚ. Ȼɪɨɞɫɤɢɣ, ɩɨɥɨɧɨɮɢɥ, ɡɧɚɬɨɤ ɢ ɩɟɪɟɜɨɞɱɢɤ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ, ɧɟ ɩɪɨɲɟɥ ɦɢɦɨ ɜɨɡɦɨɠɧɨɫɬɟɣ, ɩɪɟɞɨɫɬɚɜɥɹɟɦɵɯ ɪɭɫɫɤɨɦɭ ɚɜ- ɬɨɪɭ „ɱɭɠɨɣ” ɩɨɷɬɢɤɨɣ.
Ɍɚɤ, ɢɫɫɥɟɞɨɜɚɬɟɥɹɦɢ ɨɬɦɟɱɚɟɬɫɹ „ɩɨɧɢɠɟɧɧɵɣ ɤɨɷɮɮɢɰɢɟɧɬ ɷɜɮɨɧɢɢ” ɫɬɢɯɨɜ Ȼɪɨɞɫɤɨɝɨ: ɫɨɝɥɚɫɧɨ ɘ. Ⱥ. Ɍɚɦɛɨɜɰɟɜɭ, ɩɨɞɫɱɢɬɚɜɲɟɦɭ ɤɨɷɮɮɢɰɢɟɧɬ ɛɥɚɝɨɡɜɭɱɢɹ ɭ 12 ɪɭɫɫɤɢɯ ɩɨɷɬɨɜ, ɭ Ȼɪɨɞɫɤɨɝɨ ɷɬɨɬ ɩɨɤɚɡɚɬɟɥɶ ɨɤɚɡɚɥɫɹ ɫɚɦɵɦ ɧɢɡɤɢɦ (62,99%)5. Ɍɨ ɠɟ ɩɨɤɚɡɚɥɢ ɢɫɫɥɟɞɨɜɚɧɢɹ ɫɦɨɥɟɧɫɤɢɯ ɮɢɥɨɥɨɝɨɜ, ɫɨɝɥɚɫɧɨ ɤɨɬɨɪɵɦ ɢɡ ɨɛɳɟɣ ɬɟɧɞɟɧɰɢɢ ɩɨɷɬɨɜ ɤ ɭɫɢɥɟɧɢɸ ɛɥɚɝɨɡɜɭɱɢɹ „ɜɵɛɢɜɚɟɬɫɹ Ȼɪɨɞɫɤɢɣ. ȼ ɛɨɥɶɲɢɧɫɬɜɟ ɬɟɤɫɬɨɜ ɜ ɪɚɡɪɹɞ ɱɚɫɬɵɯ ɮɨɧɟɦ ɭ ɧɟɝɨ ɩɨɩɚɞɚɸɬ ɝɥɭɯɢɟ ɫɨɝɥɚɫɧɵɟ. ɇɚɩɪɢɦɟɪ, ɜ 3-ɟɣ ɢɡ Ɋɢɦɫɤɢɯ ɷɥɟɝɢɣ (ɑɟɪɟɩɢɰɚ ɯɨɥɦɨɜ, ɪɚɫɤɚɥɟɧɧɚɹ ɥɟɬɧɢɦ ɫɨɥɧɰɟɦ…) ɷɬɨ ɰ, ɯ, ɱ”6. „ɋɥɟɞɭɟɬ ɡɚɞɭɦɚɬɶɫɹ, ɩɨɱɟɦɭ ɤɨɷɮɮɢɰɢɟɧɬ ɷɜɮɨɧɢɢ ɭ Ȼɪɨɞɫɤɨɝɨ ɬɚ- ɤɨɣ ɧɢɡɤɢɣ, – ɧɢɠɟ, ɱɟɦ ɷɬɨɬ ɤɨɷɮɮɢɰɢɟɧɬ ɜ ɫɬɢɯɚɯ ɞɪɭɝɢɯ ɩɨɷɬɨɜ. ɗɬɨ ɡɚɫɬɚɜɥɹɟɬ ɧɚɫ ɩɪɟɞɩɨɥɨɠɢɬɶ, ɱɬɨ ɫɩɨɫɨɛɧɨɫɬɶ ɤ ɩɨɫɬɪɨɟɧɢɸ ɡɜɭɤɨɜɵɯ ɰɟɩɨɱɟɤ ɭ ɪɚɡɧɵɯ ɩɨɷɬɨɜ – ɪɚɡɧɚɹ, ɢ ɷɬɨ ɜɥɢɹɟɬ ɧɚ ɜɟɥɢɱɢɧɭ ɷɜɮɨɧɢɢ ɡɜɭɤɨɜɵɯ ɰɟɩɨɱɟɤ”7, – ɩɨɥɚɝɚɟɬ ɘ. Ɍɚɦɛɨɜɰɟɜ. Ɉɞɧɚɤɨ ɪɚɫɫɦɨɬɪɟɧɢɟ ɪɹɞɚ ɤɨɧɤɪɟɬɧɵɯ ɡɜɭɤɨɜɵɯ ɰɟɩɨɱɟɤ ɭ Ȼɪɨɞɫ- ɤɨɝɨ ɩɨɤɚɡɵɜɚɟɬ, ɱɬɨ ɜ ɢɯ ɨɫɧɨɜɟ ɥɟɠɢɬ ɢɦɟɧɧɨ ɩɪɢɟɦ ɩɨɜɬɨɪɚ ɝɥɭɯɢɯ, ɜ ɱɚɫɬɧɨɫɬɢ, ɲɢɩɹɳɢɯ ɫɨɝɥɚɫɧɵɯ, ɧɚ ɲɤɚɥɟ ɡɜɭɱɧɨɫɬɢ ɡɚɧɢɦɚɸɳɢɯ ɨɞɧɨ ɢɡ ɩɨɫɥɟɞɧɢɯ ɦɟɫɬ:
„Ɋɚɧɶɲɟ ɡɞɟɫɶ ɳɟɛɟɬɚɥ ɳɟɝɨɥ” (Ɋɚɧɶɲɟ ɡɞɟɫɶ ɳɟɛɟɬɚɥ ɳɟɝɨɥ…); „ɱɬɨɛ ɱɭɜɫɬɜɚ, ɩɪɨɦɟɥɶɤɧɭɜɲɢɟ ɫɤɜɨɡɶ ɧɨɱɶ” (Ɂɨɮɶɹ); „ɤɬɨ ɩɥɨɬɶɸ ɡɚɳɢɳɟɧ, ɤɚɤ ɪɟɲɟɬɨɦ/ ɡɚ ɫɨɛɫɬɜɟɧɧɨɣ ɞɭɲɨɣ, ɤɚɤ ɡɚ ɳɢɬɨɦ” (Ɂɨɮɶɹ). ɗɮɮɟɤɬ ɧɚɝɧɟɬɚɧɢɹ ɲɢɩɹɳɢɯ ɞɨɫɬɢ- ɝɚɟɬɫɹ ɬɚɤɠɟ ɡɚ ɫɱɟɬ ɱɚɫɬɨɬɵ ɭɩɨɬɪɟɛɥɟɧɢɹ ɬɚɤɢɯ ɥɟɤɫɟɦ, ɤɚɤ „ɜɟɳɶ”, „ɦɵɲɶ”,
„ɠɢɡɧɶ”, „ɪɟɱɶ”, „ɞɭɲɚ’ ɢ ɬ.ɩ., ɚ ɬɚɤɠɟ ɝɪɚɦɦɚɬɢɱɟɫɤɢɯ ɮɨɪɦ, ɫɨɞɟɪɠɚɳɢɯ ɲɢ- ɩɹɳɢɟ: ɝɥɚɝɨɥɨɜ ɜɨ ɜɬɨɪɨɦ ɥɢɰɟ ɟɞɢɧɫɬɜɟɧɧɨɝɨ ɱɢɫɥɚ ɢ ɩɪɢɱɚɫɬɢɣ ɧɚɫɬɨɹɳɟɝɨ ɢ ɩɪɨɲɟɞɲɟɝɨ ɜɪɟɦɟɧɢ.
Ɉɛɢɥɢɟ ɲɢɩɹɳɢɯ ɢ ɫɜɢɫɬɹɳɢɯ ɜ ɫɬɢɯɚɯ Ȼɪɨɞɫɤɨɝɨ ɨɬɦɟɱɟɧɨ ɬɚɤɠɟ ɇ. ɉɪɨɡɨ- ɪɨɜɨɣ, ɧɨ ɦɵ ɞɚɥɟɤɢ ɨɬ ɬɨɝɨ, ɱɬɨɛɵ ɜɫɥɟɞ ɡɚ ɧɟɣ ɫɱɢɬɚɬɶ ɢɯ „ɤɚɤ ɛɵ ɫɚɤɪɚɥɶɧɵɦɢ ɡɜɭɤɚɦɢ”8 ɞɥɹ ɩɨɷɬɚ. ɋɤɨɪɟɟ, ɭɱɢɬɵɜɚɹ ɬɨ, ɱɬɨ ɷɬɨɬ ɩɪɢɟɦ ɫɬɚɧɨɜɢɬɫɹ ɨɫɨɛɟɧɧɨ ɡɚɦɟɬɧɵɦ ɧɚɱɢɧɚɹ ɫ ɩɨɷɦɵ Ɂɨɮɶɹ (1962), ɢɦɟɸɳɟɣ „ɩɨɥɶɫɤɭɸ” ɩɨɞɨɩɥɟɤɭ, ɦɨɠɧɨ ɩɪɟɞɩɨɥɨɠɢɬɶ, ɱɬɨ ɜ ɟɝɨ ɨɫɧɨɜɟ ɥɟɠɢɬ ɩɨɩɵɬɤɚ ɨɬɱɚɫɬɢ ɢɦɢɬɢɪɨɜɚɬɶ ɩɨɥɶɫɤɭɸ ɮɨɧɟɬɢɤɭ, ɩɪɟɨɞɨɥɟɜɚɹ ɬɚɤɢɦ ɨɛɪɚɡɨɦ «ɱɪɟɡɦɟɪɧɭɸ» ɡɜɭɱɧɨɫɬɶ, ɩɪɢɫɭɳɭɸ ɪɭɫ- ɫɤɨɣ ɩɨɷɬɢɱɟɫɤɨɣ ɬɪɚɞɢɰɢɢ. ɉɨɞɬɜɟɪɠɞɟɧɢɟɦ ɷɬɨɝɨ ɦɨɠɟɬ ɫɥɭɠɢɬɶ ɫɥɭɱɚɣ, ɤɨɝɞɚ ɧɚɪɨɱɢɬɨ „ɛɟɫɫɦɵɫɥɟɧɧɵɣ” ɧɚɛɨɪ ɡɜɭɤɨɜ ɫɤɥɚɞɵɜɚɟɬɫɹ ɜ ɨɫɦɵɫɥɟɧɧɭɸ ɩɨɥɶɫɤɭɸ ɮɪɚɡɭ: „ɉɨɞ ɪɚɫɤɢɞɢɫɬɵɦ ɜɹɡɨɦ, ɲɟɩɱɭɳɢɦ «ɱɟ-ɲɟ-ɳɟ»,/ ɩɪɟɜɪɚɳɚɹ ɷɬɭ ɤɨɮɟɣɧɸ ɜ ɧɢɝɞɟ, ɜ ɜɨɨɛɳɟ/ ɦɟɫɬɨ – ɤɚɤ ɜɫɹɤɨɟ ɞɟɪɟɜɨ, ɛɭɞɶ ɬɨ ɜɹɡ/ ɢɥɢ ɨɥɶɯɚ – ɢɛɨ ɡɟɥɟɧɶ ɩɟɪɟɠɢɜɚɟɬ ɜɚɫ...” (ȼ ɤɚɮɟ).
5 ɘ.Ⱥ. Ɍɚɦɛɨɜɰɟɜ, Ȼɥɚɝɨɡɜɭɱɢɟ ɩɨɷɡɢɢ Ȼɪɨɞɫɤɨɝɨ, [ɜ:] ɂɨɫɢɮ Ȼɪɨɞɫɤɢɣ ɜ XXI ɜɟɤɟ: ɦɚɬɟɪɢɚɥɵ ɦɟɠ- ɞɭɧɚɪɨɞɧɨɣ ɧɚɭɱɧɨ-ɢɫɫɥɟɞɨɜɚɬɟɥɶɫɤɨɣ ɤɨɧɮɟɪɟɧɰɢɢ, ɋɚɧɤɬ-ɉɟɬɟɪɛɭɪɝ 2010, ɫ. 31.
6 ȼ.ɋ. Ȼɚɟɜɫɤɢɣ, ɂ.ȼ. ɉɚɜɥɨɜɚ, ɂ.ȼ. Ɋɨɦɚɧɨɜɚ, Ɍ.Ⱥ. ɋɚɦɨɣɥɨɜɚ, Ɂɚɤɨɧ ɡɦɟɢ, [ɜ:] ɉɨɷɬɢɤɚ ɢ ɮɨɧɨɫɬɢ- ɥɢɫɬɢɤɚ. Ȼɪɢɤɨɜɫɤɢɣ ɫɛɨɪɧɢɤ, ɆȽɍɉ, Ɇɨɫɤɜɚ 2010, ɫ. 196.
7 ɘ.Ⱥ. Ɍɚɦɛɨɜɰɟɜ, op. cit., ɫ. 31.
8 ɇ.Ƚ. ɉɪɨɡɨɪɨɜɚ, Ɉɩɵɬ ɚɧɚɥɢɡɚ ɷɜɮɨɧɢɢ ɫɬɢɯɨɬɜɨɪɟɧɢɹ ɂ. Ȼɪɨɞɫɤɨɝɨ „Ɍɨɦɚɫ Ɍɪɚɧɫɬɪɺɦɟɪ ɡɚ ɪɨɹ- ɥɟɦ”, „Toronto Slavic Quarterly” 2007, no. 19, [online] <www.utoronto.ca/tsq/19/prozorova19.shtml>.
Ɉɧɨɦɚɬɨɩɟɹ „ɱɟ-ɲɟ-ɳɟ” ɫ ɨɞɧɨɣ ɫɬɨɪɨɧɵ – ɢɦɢɬɚɰɢɹ ɲɟɩɨɬɚ ɥɢɫɬɶɟɜ, ɫ ɞɪɭɝɨɣ – ɩɨɥɧɨɫɬɶɸ ɫɨɡɜɭɱɧɚ ɩɨɥɶɫɤɨɦɭ „cieszĊ siĊ”; ɷɬɨ ɨɬɜɟɱɚɟɬ ɢ ɫɦɵɫɥɭ ɫɬɪɨɮɵ: ɜɹɡ
«ɪɚɞɭɟɬɫɹ» ɫɜɨɟɣ ɞɨɥɝɨɜɟɱɧɨɫɬɢ ɩɨ ɫɪɚɜɧɟɧɢɸ ɫ ɱɟɥɨɜɟɤɨɦ.
Ɂɞɟɫɶ ɦɵ ɢɦɟɟɦ ɞɟɥɨ ɫ „ɡɚɦɚɫɤɢɪɨɜɚɧɧɵɦ” ɩɨɥɨɧɢɡɦɨɦ; ɯɨɬɹ ɜ ɩɪɢɧɰɢɩɟ ɧɚ ɥɟɤɫɢɱɟɫɤɨɦ ɭɪɨɜɧɟ ɩɨɥɨɧɢɡɦɵ, ɤɚɤ ɢ ɩɪɨɱɢɟ ɜɚɪɜɚɪɢɡɦɵ, ɜɫɬɪɟɱɚɸɬɫɹ ɭ Ȼɪɨɞɫɤɨɝɨ ɥɢɲɶ ɢɡɪɟɞɤɚ (ɧɨ ɱɚɳɟ, ɱɟɦ, ɤ ɩɪɢɦɟɪɭ, ɚɧɝɥɢɰɢɡɦɵ). ɉɨɪɨɣ ɢɯ ɜɤɥɸɱɟɧɢɟ ɨɛɴɹɫ- ɧɹɟɬɫɹ «ɩɨɥɶɫɤɨɣ» ɬɟɦɚɬɢɤɨɣ ɫɬɢɯɨɬɜɨɪɟɧɢɹ ɥɢɛɨ ɨɛɪɚɳɟɧɢɟɦ ɤ ɩɨɥɶɫɤɨɹɡɵɱɧɨɦɭ ɚɞɪɟɫɚɬɭ – ɧɚɩɪɢɦɟɪ Ɂ. Ʉɚɩɭɳɢɧɶɫɤɨɣ („ɩɨɫɩɨɥɢɬɵɣ ɩɚɪɚɞɢɡ” ɜ Ɂɨɮɶɟ). Ɉɛɪɚɳɚ- ɟɬ ɧɚ ɫɟɛɹ ɜɧɢɦɚɧɢɟ ɦɟɠɴɹɡɵɤɨɜɚɹ ɢɝɪɚ ɜ Ɉɬɤɪɵɬɤɟ ɢɡ ɝɨɪɨɞɚ Ʉ., ɨɛɪɚɳɟɧɧɨɣ ɤ Ɍ. ȼɟɧɰɥɨɜɟ: „Ʉɬɨ-ɬɨ/ ɫɪɟɞɢ ɪɚɡɜɚɥɢɧ ɛɪɨɞɢɬ, ɜɨɪɨɲɚ/ ɥɢɫɬɜɭ ɡɚɩɪɨɲɥɨɝɨɞɧɸɸ.
Ɍɨ – ɜɟɬɟɪ,/ ɤɚɤ ɛɥɭɞɧɵɣ ɫɵɧ, ɜɟɪɧɭɥɫɹ ɜ ɨɬɱɢɣ ɞɨɦ/ ɢ ɫɪɚɡɭ ɩɨɥɭɱɢɥ ɜɫɟ ɩɢɫɶɦɚ”.
ȿɫɥɢ ɩɪɨɱɢɬɚɬɶ ɷɬɢ ɫɬɪɨɤɢ ɫ ɭɱɟɬɨɦ ɩɨɥɶɫɤɨɝɨ ɹɡɵɤɚ (ɤɨɬɨɪɵɣ ɡɧɚɥ ȼɟɧɰɥɨɜɚ), ɧɟɬɪɭɞɧɨ ɡɚɦɟɬɢɬɶ ɩɪɢɫɭɬɫɬɜɭɸɳɭɸ ɧɚ ɦɟɠɴɹɡɵɤɨɜɨɦ ɭɪɨɜɧɟ ɩɚɪɨɧɨɦɚɡɢɸ: „ɥɢɫ- ɬɜɚ – listy (ɩɢɫɶɦɚ)”. Ʉɫɬɚɬɢ, ɜ ɩɨɥɶɫɤɨɦ ɩɟɪɟɜɨɞɟ ɋ. Ȼɚɪɚɧɶɱɚɤɚ ɢɝɪɚ ɨɬɫɭɬɫɬɜɭɟɬ, ɩɚɪɨɧɨɦɚɡɢɹ ɷɤɫɩɥɢɰɢɪɨɜɚɧɚ ɜ ɬɟɤɫɬɟ: listowie – listy. Ɂɚɬɨ ɩɟɪɟɜɨɞɱɢɤ (ɨɫɨɡɧɚɧɧɨ ɢɥɢ ɧɟɬ) ɩɟɪɟɞɚɥ ɜ ɷɬɨɦ ɠɟ ɬɟɤɫɬɟ ɞɪɭɝɨɣ ɫɥɭɱɚɣ «ɪɭɫɫɤɨ-ɩɨɥɶɫɤɨɣ» ɫɟɦɚɧɬɢɤɢ:
„Ɋɚɡɜɚɥɢɧɵ ɟɫɬɶ ɩɪɚɡɞɧɢɤ ɤɢɫɥɨɪɨɞɚ...” – „Ruiny dawnych miast to ĞwiĊto tlenu...”.
ɉɨɥɶɫɤɨɟ tlen (ɤɢɫɥɨɪɨɞ) ɫɨɡɜɭɱɧɨ ɪɭɫɫɤɨɦɭ „ɬɥɟɧ”, ɜɩɨɥɧɟ ɭɦɟɫɬɧɨɦɭ, ɤɨɝɞɚ ɪɟɱɶ ɢɞɟɬ ɨ ɪɚɡɜɚɥɢɧɚɯ.
ɉɪɨɱɬɟɧɢɟ ɷɬɨɝɨ ɫɬɢɯɨɬɜɨɪɟɧɢɹ ɧɚ „ɪɭɫɫɤɨ-ɩɨɥɶɫɤɨɦ” ɹɡɵɤɟ ɨɛɨɫɧɨɜɚɧɨ ɬɟɦ, ɱɬɨ ɨɛɪɚɳɟɧɢɹ Ȼɪɨɞɫɤɨɝɨ ɢɦɟɧɧɨ ɤ Ɍ. ȼɟɧɰɥɨɜɟ ɧɨɫɹɬ ɩɨɪɨɣ „ɲɢɮɪɨɜɵɣ” ɯɚɪɚɤ- ɬɟɪ (ɫɦ. Ʌɢɬɨɜɫɤɢɣ ɧɨɤɬɸɪɧ: Ɍɨɦɚɫɭ ȼɟɧɰɥɨɜɟ ɢ ɫɬɚɬɶɸ Ɍ. ȼɟɧɰɥɨɜɵ ɨɛ ɷɬɨɦ ɫɬɢɯɨɬɜɨɪɟɧɢɢ)9.
ȼ ɪɹɞɟ ɫɥɭɱɚɟɜ ɦɨɬɢɜɢɪɨɜɤɚ ɭɩɨɬɪɟɛɥɟɧɢɹ ɩɨɥɨɧɢɡɦɚ ɧɟɹɫɧɚ (ɤɚɤ ɜ ɫɥɭɱɚɟ ɧɟɨɞɧɨɤɪɚɬɧɨ ɭɩɨɬɪɟɛɥɹɟɦɵɯ Ȼɪɨɞɫɤɢɦ ɫɥɨɜ „ɛɨ”, „ɩɚɧɭɟɬ”, „ɤɪɚɜɟɰ/ ɤɪɚɜɱɢɤ”);
ɬɨɝɞɚ ɩɪɢɯɨɞɢɬɫɹ ɩɪɟɞɩɨɥɨɠɢɬɶ, ɱɬɨ ɜ ɹɡɵɤɨɜɨɦ ɫɨɡɧɚɧɢɢ ɩɨɷɬɚ ɢɧɨɹɡɵɱɧɚɹ ɥɟɤ- ɫɟɦɚ ɢɦɟɟɬ ɩɪɟɮɟɪɟɧɰɢɸ, ɩɪɟɞɫɬɚɜɥɹɟɬɫɹ ɛɨɥɟɟ ɚɞɟɤɜɚɬɧɨɣ ɜ ɞɚɧɧɨɦ ɤɨɧɬɟɤɫɬɟ.
ɗɬɢɦ ɩɪɢɯɨɞɢɬɫɹ ɨɛɴɹɫɧɢɬɶ ɢ ɧɚɥɢɱɢɟ ɩɨɥɨɧɢɡɦɚ ɜ ɫɬɢɯɨɬɜɨɪɟɧɢɢ Ⱥɪɢɹ: „Ⱦɟɧɶ ɩɪɨɥɟɬɟɥ. ɉɱɟɥɚ/ ɲɟɩɱɟɬ ɩɨ-ɩɨɥɶɫɤɢ «ɡɛɪɨɞɧɹ»...”. ɏɨɬɹ ɡɞɟɫɶ ɜɨɡɦɨɠɧɨ ɢ ɧɚɥɢɱɢɟ ɧɟ ɨɩɨɡɧɚɧɧɨɝɨ ɩɨɤɚ ɚɜɬɨɪɨɦ ɞɚɧɧɨɣ ɫɬɚɬɶɢ ɩɪɟɬɟɤɫɬɚ ɢɡ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ. Ʉɚɤ, ɧɚ ɧɚɲ ɜɡɝɥɹɞ, ɢɦɟɧɧɨ ɩɪɟɬɟɤɫɬ ɫɥɭɠɢɬ ɩɪɢɱɢɧɨɣ ɧɚɥɢɱɢɹ ɜ ɗɤɥɨɝɟ 5-ɣ (ɥɟɬɧɟɣ) ɩɨɥɨɧɢɡɦɚ „ɦóɬɵɥɶ” (ɜ ɞɪɭɝɢɯ ɫɥɭɱɚɹɯ Ȼɪɨɞɫɤɢɣ ɭɩɨɬɪɟɛɥɹɟɬ ɷɬɨ ɫɥɨɜɨ ɫ ɩɪɚɜɢɥɶ- ɧɵɦ ɭɞɚɪɟɧɢɟɦ ɧɚ ɜɬɨɪɨɦ ɫɥɨɝɟ). „Ȼɟɡɞɨɦɧɵɣ ɦóɬɵɥɶ”, ɫɤɨɪɟɟ ɜɫɟɝɨ, „ɡɚɥɟɬɟɥ”
ɜ ɗɤɥɨɝɭ… ɢɡ ɫɬɢɯɨɬɜɨɪɟɧɢɹ Ɇ. ɉɚɜɥɢɤɨɜɫɤɨɣ-əɫɧɨɠɟɜɫɤɨɣ Jaki jest motyl?: „Jaki jest motyl?/ Záoty, ĞnieĪny czy lekkomyĞlny?// Motyl? Bezdomny!”. ɏɨɬɹ Ȼɪɨɞɫɤɢɣ ɧɢɝɞɟ ɧɟ ɭɩɨɦɢɧɚɟɬ ɢɦɟɧɢ ɷɬɨɣ ɩɨɷɬɟɫɫɵ, ɟɦɭ ɨɧɨ ɞɨɥɠɧɨ ɛɵɥɨ ɛɵɬɶ ɢɡɜɟɫɬɧɨ, ɤɚɤ ɢ ɟɟ ɬɟɤɫɬɵ: ɫɬɢɯɢ ɉɚɜɥɢɤɨɜɫɤɨɣ-əɫɧɨɠɟɜɫɤɨɣ ɩɟɪɟɜɨɞɢɥɚ Ⱥ. Ⱥɯɦɚɬɨɜɚ.
ɉɨɦɢɦɨ ɗɤɥɨɝɢ 5-ɣ (ɥɟɬɧɟɣ), ɦɧɨɝɢɟ ɫɬɢɯɨɬɜɨɪɟɧɢɹ Ȼɪɨɞɫɤɨɝɨ ɢɦɟɸɬ ɩɨɥɶɫɤɢɟ ɩɪɟɬɟɤɫɬɵ, ɚɤɬɭɚɥɢɡɢɪɨɜɚɧɧɵɟ ɤɚɤ ɰɢɬɚɬɵ/ ɦɢɤɪɨɰɢɬɚɬɵ (ɜ ɬɨɦ ɱɢɫɥɟ ɫɬɪɭɤɬɭɪ- ɧɵɟ), ɚɥɥɸɡɢɢ ɥɢɛɨ ɡɚɢɦɫɬɜɨɜɚɧɢɹ ɩɨ ɪɢɬɦɭ ɢ ɡɜɭɱɚɧɢɸ (ɨ ɧɟɤɨɬɨɪɵɯ ɧɚɦ ɭɠɟ
9 Ɍ. ȼɟɧɰɥɨɜɚ, „Ʌɢɬɨɜɫɤɢɣ ɧɨɤɬɸɪɧ” ɂɨɫɢɮɚ Ȼɪɨɞɫɤɨɝɨ, [ɜ:] Ʉɚɤ ɪɚɛɨɬɚɟɬ ɫɬɢɯɨɬɜɨɪɟɧɢɟ Ȼɪɨɞ- ɫɤɨɝɨ, ɇɨɜɨɟ ɥɢɬɟɪɚɬɭɪɧɨɟ ɨɛɨɡɪɟɧɢɟ, Ɇɨɫɤɜɚ 2006, ɫ. 108–132.
ɩɪɢɯɨɞɢɥɨɫɶ ɩɢɫɚɬɶ)10. ɉɪɢɱɟɦ ɩɨɪɨɣ ɷɬɢ ɩɪɟɬɟɤɫɬɵ ɞɨɫɬɚɬɨɱɧɨ ɧɟɨɠɢɞɚɧɧɵ.
ɉɪɢɜɟɞɟɦ ɨɞɢɧ ɩɪɢɦɟɪ. Ʌ. Ʌɨɫɟɜ ɜɫɩɨɦɢɧɚɟɬ: „ɦɵ ɝɭɥɹɥɢ ɝɞɟ-ɬɨ ɜ ɨɤɪɟɫɬɧɨɫɬɹɯ ɟɝɨ ɥɟɧɢɧɝɪɚɞɫɤɨɝɨ ɞɨɦɚ, ɢ ɨɧ ɡɚɝɨɜɨɪɢɥ ɨ ɫɜɨɢɯ ɩɥɚɧɚɯ ɩɨɛɟɝɚ ɡɚ ɝɪɚɧɢɰɭ. ɉɥɚɧɵ ɛɵɥɢ ɬɚɤɢɟ: [...] ɩɨɫɚɞɢɬɶ ɜ ɪɸɤɡɚɤ ɧɟɫɤɨɥɶɤɨ ɤɨɲɟɤ, ɩɨɝɪɚɧɢɱɧɵɟ ɨɜɱɚɪɤɢ ɛɪɨ- ɫɹɬɫɹ ɡɚ ɤɨɲɤɚɦɢ, ɢ ɬɭɬ... ȼɫ ɤɨ ɪɟ ɨɧ ɞɚɥ ɦɧɟ ɩɪɨɱɢɬɚɬɶ Post aetatem nostram, ɝɞɟ ɝɟɪɨɣ ɩɟɪɟɯɨɞɢɬ ɝɪɚɧɢɰɭ ɢɦɟɧɧɨ ɫ ɤɨɲɚɱɶɟɣ ɩɨɦɨɳɶɸ, ɢ ɹ ɩɨɧɹɥ, ɱɬɨ ɨɧ ɬɨɝɞɚ ɩɪɨɫɬɨ ɩɪɨɢɝɪɵɜɚɥ ɜɫɥɭɯ ɫɜɨɢ ɜɵɞɭɦɤɢ ɞɥɹ, ɤɚɤ ɛɵ ɨɧ ɫɤɚɡɚɥ, ɯɭɞɨɠɟɫɬɜɟɧɧɨɝɨ ɩɪɨɢɡɜɟɞɟɧɢɹ”11.
Ɉɞɧɚɤɨ Ʌ. Ʌɨɫɟɜ ɨɲɢɛɫɹ: ɢɫɬɨɪɢɸ ɫ ɤɨɲɤɚɦɢ Ȼɪɨɞɫɤɢɣ ɧɟ ɜɵɞɭɦɚɥ, „ɩɟɪɟ- ɯɨɞ ɝɪɚɧɢɰɵ ɫ ɤɨɲɚɱɶɟɣ ɩɨɦɨɳɶɸ” ɨɩɢɫɚɧ Ɇ. ɏɥɚɫɤɨ ɜ ɦɟɦɭɚɪɧɨɣ ɤɧɢɝɟ PiĊkni dwudziestoletni. Ʉɧɢɝɚ ɏɥɚɫɤɨ ɜɵɲɥɚ ɜ ɉɚɪɢɠɟ ɜ ɛɢɛɥɢɨɬɟɤɟ ɠɭɪɧɚɥɚ „Ʉɭɥɶɬɭɪɚ”
ɜ 1966 ɝɨɞɭ, ɧɨ ɩɚɪɢɠɫɤɢɟ ɢɡɞɚɧɢɹ ɛɵɥɢ ɞɨɫɬɭɩɧɵ Ȼɪɨɞɫɤɨɦɭ (ɱɟɪɟɡ ɟɝɨ ɮɪɚɧ- ɰɭɡɫɤɭɸ ɩɨɞɪɭɝɭ ȼɟɪɨɧɢɤɭ ɒɢɥɶɰ). „ɉɨɥɶɫɤɨɟ” ɩɪɨɢɫɯɨɠɞɟɧɢɟ ɞɚɧɧɨɝɨ ɷɩɢɡɨɞɚ ɫɨɨɬɧɨɫɢɬɫɹ ɫ ɫɟɦɚɧɬɢɤɨɣ „ɉɨɥɶɲɢ” ɜ ɬɜɨɪɱɟɫɬɜɟ Ȼɪɨɞɫɤɨɝɨ, ɫɜɹɡɚɧɧɨɣ ɫ ɩɨɧɹ- ɬɢɹɦɢ „ɫɜɨɛɨɞɵ” ɫ ɨɞɧɨɣ ɫɬɨɪɨɧɵ ɢ „ɩɟɪɟɯɨɞɚ ɝɪɚɧɢɰɵ” ɫ ɞɪɭɝɨɣ12. Ɉɬɦɟɬɢɦ, ɱɬɨ ɉ. Ɏɚɫɬ, ɩɨɫɜɹɬɢɜɲɢɣ ɰɟɥɭɸ ɫɬɚɬɶɸ ɢɦɟɧɧɨ12-ɣ ɱɚɫɬɢ Post Aetatem Nostram, ɫɨɞɟɪɠɚɳɟɣ ɞɚɧɧɵɣ ɷɩɢɡɨɞ, ɧɟ ɭɩɨɦɢɧɚɟɬ ɨɛ ɷɬɨɦ ɩɪɟɬɟɤɫɬɟ13 – ɜɟɪɨɹɬɧɨ, ɜ ɫɢɥɭ ɟɝɨ ɧɟɨɠɢɞɚɧɧɨɫɬɢ.
ȿɫɥɢ ɢɫɫɥɟɞɨɜɚɬɟɥɢ ɢ ɡɚɞɚɸɬɫɹ ɰɟɥɶɸ ɜɵɹɜɢɬɶ ɢɧɬɟɪɬɟɤɫɬɭɚɥɶɧɵɟ ɫɜɹɡɢ ɫɬɢ- ɯɨɜ Ȼɪɨɞɫɤɨɝɨ ɫ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɟɣ, ɨɧɢ ɪɚɫɫɦɚɬɪɢɜɚɸɬ ɜ ɨɫɧɨɜɧɨɦ ɬɜɨɪɱɟɫɬɜɨ ɞɨ- ɷɦɢɝɪɚɧɬɫɤɨɝɨ ɩɟɪɢɨɞɚ; ɚɦɟɪɢɤɚɧɫɤɢɣ ɠɟ ɩɟɪɢɨɞ ɫɜɹɡɵɜɚɟɬɫɹ, ɤɚɤ ɩɪɚɜɢɥɨ, ɫ ɢɦɟ- ɧɚɦɢ ɑ. Ɇɢɥɨɲɚ, Ɂ. ɏɟɪɛɟɪɬɚ ɢ ȼ. ɒɢɦɛɨɪɫɤɨɣ, ɱɚɫɬɨ ɭɩɨɦɢɧɚɜɲɢɯɫɹ Ȼɪɨɞɫɤɢɦ.
ɋɭɳɟɫɬɜɭɟɬ ɦɧɟɧɢɟ, ɛɭɞɬɨ ɜ ɷɦɢɝɪɚɰɢɢ ɩɨɷɬ „ɩɟɪɟɫɬɚɥ ɢɧɬɟɪɟɫɨɜɚɬɶɫɹ” ɉɨɥɶɲɟɣ ɢ ɩɨɥɶɫɤɨɣ ɥɢɬɟɪɚɬɭɪɨɣ, ɱɬɨ ɨɩɪɨɜɟɪɝɚɟɬɫɹ ɤɚɤ ɜɵɫɤɚɡɵɜɚɧɢɹɦɢ ɫɚɦɨɝɨ Ȼɪɨɞɫɤɨɝɨ, ɬɚɤ ɢ ɟɝɨ ɬɟɤɫɬɚɦɢ (ɬɚɤɢɦɢ ɤɚɤ, ɧɚɩɪɢɦɟɪ, ɉɨɥɨɧɟɡ: ɜɚɪɢɚɰɢɹ, ɝɞɟ, ɩɨɦɢɦɨ ɩɨɥɶ- ɫɤɨɝɨ ɚɞɪɟɫɚɬɚ, ɧɚɡɜɚɧɢɹ ɢ ɭɩɨɦɢɧɚɧɢɹ ɒɨɩɟɧɚ ɢ Ʉɨɩɟɪɧɢɤɚ ɩɪɢɫɭɬɫɬɜɭɸɬ ɹɜɧɵɟ ɚɥɥɸɡɢɢ ɧɚ ɬɟɤɫɬɵ Ⱥ. Ɇɢɰɤɟɜɢɱɚ, ɐ. Ʉ. ɇɨɪɜɢɞɚ, Ʉ. ɂ. Ƚɚɥɱɢɧɫɤɨɝɨ).
Ɍɚɤɠɟ ɜ ɷɦɢɝɪɚɰɢɢ ɛɵɥ ɧɚɩɢɫɚɧ Ʌɢɬɨɜɫɤɢɣ ɧɨɤɬɸɪɧ: Ɍɨɦɚɫɭ ȼɟɧɰɥɨɜɚ, ɧɚ- ɱɚɬɵɣ ɜ 1974, ɚ ɡɚɤɨɧɱɟɧɧɵɣ ɜ 1983 ɝɨɞɭ. ȼ ɷɬɨɦ ɫɬɢɯɨɬɜɨɪɟɧɢɢ, ɤɚɤ ɢ ɜ ɬɟɤɫɬɟ 1981 ɝɨɞɚ Ʉ ɍɪɚɧɢɢ, ɮɢɝɭɪɢɪɭɟɬ ɦɭɡɚ ɚɫɬɪɨɧɨɦɢɢ ɍɪɚɧɢɹ, ɢɦɟɧɟɦ ɤɨɬɨɪɨɣ ɩɨɷɬ ɧɚɡɨɜɟɬ ɬɚɤɠɟ ɤɧɢɝɭ ɫɬɢɯɨɜ 1987 ɝɨɞɚ. ɉɪɨɢɫɯɨɠɞɟɧɢɟ ɷɬɨɝɨ ɨɛɪɚɡɚ ɭ Ȼɪɨɞɫɤɨɝɨ ɨɛɵɱɧɨ ɫɜɹɡɵɜɚɸɬ ɫɨ ɫɬɢɯɨɬɜɨɪɟɧɢɟɦ ȿ. Ȼɚɪɚɬɵɧɫɤɨɝɨ ɉɨɫɥɟɞɧɢɣ ɩɨɷɬ, ɝɞɟ ɟɫɬɶ ɫɬɪɨɤɢ: „ɉɨɤɥɨɧɧɢɤɚɦ ɍɪɚɧɢɢ ɯɨɥɨɞɧɨɣ/ ɉɨɟɬ, ɭɜɵ! ɨɧ ɛɥɚɝɨɞɚɬɶ ɫɬɪɚɫɬɟɣ...”;
ɫɚɦ ɠɟ Ȼɪɨɞɫɤɢɣ ɜ ɨɞɧɨɦ ɢɡ ɢɧɬɟɪɜɶɸ ɧɚɡɵɜɚɟɬ ɟɝɨ ɨɬɫɵɥɤɨɣ ɤ Ȼɨɠɟɫɬɜɟɧɧɨɣ ɤɨɦɟɞɢɢ Ⱦɚɧɬɟ.
10 ɋɦ., ɧɚɩɪɢɦɟɪ: Ɉ.ə. Ȼɚɪɚɲ, op. cit; eadem, Ⱦɜɟ „ɩɟɫɟɧɤɢ” ɂɨɫɢɮɚ Ȼɪɨɞɫɤɨɝɨ, [ɜ:] Perspektywy roz- woju nauki. Zbiór raportów naukowych, GdaĔsk 2012.
11 Ʌ.ȼ. Ʌɨɫɟɜ, Ɇɟɚɧɞɪ, ɇɨɜɨɟ ɢɡɞɚɬɟɥɶɫɬɜɨ, Ɇɨɫɤɜɚ 2010, ɫ. 131.
12 ɋɦ. ɨɛ ɷɬɨɦ: J. Szymak-Reiferowa, Czytając Brodskiego, Wydawnictwo Uniwersytetu JagielloĔskiego, Kraków 1998, ɫ. 61.
13 P. Fast, „Landszaft zamiast horyzontu”: o motywach dwunastej czĊĞci „Post Aetatem Nostram”, [ɜ:]
Brodski w analizach i interpretacjach, „ĝląsk”, Katowice 2000, ɫ. 81–92.
Ɉɞɧɚɤɨ ɧɚɦ ɩɨɤɚɡɚɥɨɫɶ ɢɧɬɟɪɟɫɧɵɦ ɨɛɪɚɬɢɬɶɫɹ ɜ ɷɬɨɣ ɫɜɹɡɢ ɤ ɩɨɫɥɟɞɧɟɦɭ ɫɬɢɯɨɬɜɨɪɟɧɢɸ ə. ɂɜɚɲɤɟɜɢɱɚ ɫ ɬɟɦ ɠɟ ɧɚɡɜɚɧɢɟɦ, ɱɬɨ ɤɧɢɝɚ Ȼɪɨɞɫɤɨɝɨ: ɍɪɚɧɢɹ, ɯɨɬɹ ɬɪɭɞɧɨ ɧɚɣɬɢ ɱɬɨ-ɥɢɛɨ ɨɛɳɟɟ ɤɚɤ ɜ ɩɨɷɬɢɤɟ, ɬɚɤ ɢ ɜ ɦɢɪɨɜɨɡɡɪɟɧɢɢ ɷɬɢɯ ɞɜɭɯ ɚɜɬɨɪɨɜ. Ɍɟɦ ɧɟ ɦɟɧɟɟ ɦɟɠɞɭ ɍɪɚɧɢɟɣ ɂɜɚɲɤɟɜɢɱɚ ɢ ɨɬɞɟɥɶɧɵɦɢ ɫɬɪɨɮɚɦɢ Ʌɢɬɨɜɫɤɨɝɨ ɧɨɤɬɸɪɧɚ ɢɦɟɸɬɫɹ ɬɟɤɫɬɨɜɵɟ ɚɧɚɥɨɝɢɢ, ɧɟɫɦɨɬɪɹ ɧɚ ɬɨ, ɱɬɨ ɚɞɪɟɫɚɬ ɫɬɢɯɨɬɜɨɪɟɧɢɹ Ȼɪɨɞɫɤɨɝɨ – ɫɨɛɫɬɜɟɧɧɨ ɦɭɡɚ, ɂɜɚɲɤɟɜɢɱɚ – ɫɨɫɧɚ ɩɨ ɢɦɟɧɢ ɍɪɚɧɢɹ, ɪɚɫɬɭɳɚɹ ɭ ɞɨɦɚ ɩɨɷɬɚ.
„Ɇɭɡɚ ɬɨɱɤɢ ɜ ɩɪɨɫɬɪɚɧɫɬɜɟ! ȼɟɳɟɣ, ɪɚɡɥɢɱɚɟɦɵɯ ɥɢɲɶ/ ɜ ɬɟɥɟɫɤɨɩ! ȼɵɱɢɬɚ- ɧɶɹ/ ɛɟɡ ɨɫɬɚɬɤɚ! ɇɭɥɹ!” ɨɛɪɚɳɚɟɬɫɹ Ȼɪɨɞɫɤɢɣ ɤ ɍɪɚɧɢɢ, ɚ ɞɜɭɦɹ ɫɬɪɨɮɚɦɢ ɜɵɲɟ ɧɚɡɵɜɚɟɬ ɟɟ: „Ɇɭɡɚ ɬɨɱɤɢ ɜ ɩɪɨɫɬɪɚɧɫɬɜɟ ɢ Ɇɭɡɚ ɭɬɪɚɬɵ/ ɨɱɟɪɬɚɧɢɣ...”.
ɋɪ. ɨɛɪɚɳɟɧɢɟ ɤ ɍɪɚɧɢɢ ɭ ɂɜɚɲɤɟɜɢɱɚ: „Uranio, muzo dnia ostatecznego/ Bogini koĔca, bogini trwaáoĞci/ ZniszczeĔ bogini i wszystkiego záego...”.
Ɍɨ, ɨ ɱɟɦ ɩɪɨɫɹɬ ɍɪɚɧɢɸ ɨɛɚ ɩɨɷɬɚ – ɪɚɡɜɨɩɥɨɳɟɧɢɟ, ɩɟɪɟɯɨɞ ɜ ɢɧɭɸ ɫɭɛ- ɫɬɚɧɰɢɸ: ɭ Ȼɪɨɞɫɤɨɝɨ – ɜ ɜɨɡɞɭɯ – „Ɇɭɡɚ, ɦɨɠɧɨ ɞɨɦɨɣ?/ ȼɨɫɜɨɹɫɢ! ȼ ɬɨɬ ɤɪɚɣ/
ɝɞɟ ɛɟɡɞɭɦɧɵɣ Ȼɨɪɟɣ ɩɨɩɢɪɚɟɬ ɛɟɫɩɟɱɧɨ ɬɪɨɮɟɢ/ ɭɫɬ...”, ɭ ɂɜɚɲɤɟɜɢɱɚ – ɜ ɞɟɪɟɜɨ ɢ ɩɭɫɬɨɬɭ: „Pogrzeb mnie, ratuj, daj swoje korony,/ Bym takĪe byá Uranią, nicoĞcią i sosną”. ɏɨɬɹ ɭ ɂɜɚɲɤɟɜɢɱɚ ɷɬɨɬ ɩɟɪɟɯɨɞ ɫɜɹɡɵɜɚɟɬɫɹ ɫɨ ɫɦɟɪɬɶɸ (ɢ ɠɢɡɧɶɸ ɜ ɤɚɱɟɫɬɜɟ ɫɨɫɧɵ-ɍɪɚɧɢɢ-ɦɭɡɵ), ɚ ɭ Ȼɪɨɞɫɤɨɝɨ, ɫɤɨɪɟɟ, ɫ ɠɢɡɧɶɸ ɜ ɫɥɨɜɟ (ɫɨɨɬɜɟɬɫ- ɬɜɟɧɧɨ, ɧɟ-ɠɢɡɧɶɸ ɜ ɤɚɱɟɫɬɜɟ ɮɢɡɢɱɟɫɤɨɝɨ ɬɟɥɚ).
Ƚɥɚɜɧɚɹ ɮɭɧɤɰɢɹ ɫɨɫɧɵ-ɍɪɚɧɢɢ ɭ ɂɜɚɲɤɟɜɢɱɚ – ɫɬɨɹɬɶ ɧɚ ɫɬɪɚɠɟ ɞɨɦɚ: „AbyĞ wytrwaáa w progu mego domu/ I strzegáa kwiatu, owocu i pszczoáy/ I serc, co tutaj gas- ną po kryjomu”. ɂ ɞɚɥɟɟ: „StójĪe na straĪy domu i nicoĞci”. ɂ Ȼɪɨɞɫɤɢɣ ɩɪɢɡɵɜɚɟɬ ɫɜɨɸ ɍɪɚɧɢɸ-ɦɭɡɭ ɤ ɬɨɦɭ ɠɟ: „Ɉɛɧɟɫɢ ɫɜɨɟɣ ɫɬɪɚɠɟɣ/ ɞɨɦ ɢ ɫɟɪɞɰɟ ɟɦɭ” (ɬ.ɟ.
„ɩɟɜɰɭ ɬɟɯ ɪɚɜɧɢɧ” Ɍɨɦɚɫɭ ȼɟɧɰɥɨɜɟ), ɱɬɨ ɹɜɥɹɟɬɫɹ ɩɨɱɬɢ ɞɨɫɥɨɜɧɨɣ ɰɢɬɚɬɨɣ ɢɡ ɂɜɚɲɤɟɜɢɱɚ.
Ȼɪɨɞɫɤɢɣ ɧɢɤɨɝɞɚ ɧɟ ɭɩɨɦɢɧɚɥ ɂɜɚɲɤɟɜɢɱɚ ɜ ɫɜɨɢɯ ɜɵɫɬɭɩɥɟɧɢɹɯ; ɬɚɤɠɟ ɧɟɬ ɫɜɢɞɟɬɟɥɶɫɬɜ ɨ ɟɝɨ ɡɧɚɤɨɦɫɬɜɟ ɫ ɩɨɥɶɫɤɢɦ ɩɨɷɬɨɦ ɜ ɜɨɫɩɨɦɢɧɚɧɢɹɯ ɨ Ȼɪɨɞɫɤɨɦ.
Ɉɞɧɚɤɨ ɛɨɥɶɲɢɦ ɰɟɧɢɬɟɥɟɦ ɩɨɷɡɢɢ ɂɜɚɲɤɟɜɢɱɚ ɛɵɥ ɞɪɭɠɢɜɲɢɣ ɫ Ȼɪɨɞɫɤɢɦ ɫ 1972 ɝɨɞɚ ɑɟɫɥɚɜ Ɇɢɥɨɲ; ɚ Muzyka wieczorem, ɩɨɫɥɟɞɧɹɹ ɤɧɢɝɚ ɫɬɢɯɨɜ ɚɜɬɨɪɚ ɏɜɚɥɵ ɢ ɫɥɚɜɵ, ɨɬɤɪɵɜɚɸɳɚɹɫɹ ɍɪɚɧɢɟɣ, ɜɵɲɥɚ ɜ 1980 ɝɨɞɭ. Ɉɬɦɟɬɢɦ, ɱɬɨ ɫɬɢ- ɯɨɬɜɨɪɟɧɢɟ Ȼɪɨɞɫɤɨɝɨ Ʉ ɍɪɚɧɢɢ (ɧɟ ɢɦɟɸɳɟɟ, ɩɪɚɜɞɚ, ɩɪɹɦɵɯ ɚɧɚɥɨɝɢɣ ɫ ɬɟɤɫɬɨɦ ɂɜɚɲɤɟɜɢɱɚ) ɞɚɬɢɪɨɜɚɧɨ 1981 ɝɨɞɨɦ.
ɋɨɜɩɚɞɟɧɢɹ ɫɨ ɫɬɢɯɚɦɢ ɩɨɥɶɫɤɢɯ ɩɨɷɬɨɜ ɜ ɬɟɤɫɚɯ Ȼɪɨɞɫɤɨɝɨ ɦɨɠɧɨ ɛɵɥɨ ɛɵ ɧɚɡɜɚɬɶ ɫɥɭɱɚɣɧɵɦɢ, ɧɟ ɛɭɞɶ ɢɯ ɬɚɤ ɦɧɨɝɨ, ɩɪɢɱɟɦ, ɤɚɤ ɛɵɥɨ ɫɤɚɡɚɧɨ ɜɵɲɟ, ɨɧɢ ɩɪɨɹɜɥɹɸɬɫɹ ɧɟ ɬɨɥɶɤɨ ɧɚ ɥɟɤɫɢɱɟɫɤɨɦ ɭɪɨɜɧɟ. ɑɚɫɬɨɬɧɵɟ ɜ ɩɪɨɫɨɞɢɢ Ȼɪɨɞɫɤɨ- ɝɨ, ɨɫɨɛɟɧɧɨ ɩɨɡɞɧɟɝɨ, 6- ɢ 5-ɢɤɬɧɵɟ ɞɨɥɶɧɢɤɢ, ɧɚ ɧɚɲ ɜɡɝɥɹɞ, ɜɨɫɯɨɞɹɬ ɢɦɟɧɧɨ ɤ ɩɨɥɶɫɤɢɦ ɨɛɪɚɡɰɚɦ: „ɩɨɥɶɫɤɨɦɭ ɝɟɤɡɚɦɟɬɪɭ” – 13–18-ɫɥɨɠɧɨɦɭ ɥɨɝɚɷɞɢɱɟɫɤɨɦɭ ɲɟɫɬɢɫɬɨɩɧɢɤɭ ɫ ɱɟɪɟɞɨɜɚɧɢɟɦ ɞɚɤɬɢɥɟɣ ɢ ɯɨɪɟɟɜ, ɢ ɨɫɧɨɜɚɧɧɨɦɭ ɧɚ ɧɟɦ „ɩɨɥɶ- ɫɤɨɦɭ ɞɨɥɶɧɢɤɭ”, ɨɬɥɢɱɚɸɳɟɦɭɫɹ ɦɟɧɶɲɟɣ ɫɬɟɩɟɧɶɸ ɥɨɝɚɷɞɢɡɚɰɢɢ. Ɏɚɤɬ ɡɚɢɦɫ- ɬɜɨɜɚɧɢɹ ɩɨɞɨɛɧɨɣ ɪɢɬɦɢɤɨ-ɦɟɬɪɢɱɟɫɤɨɣ ɫɬɪɭɤɬɭɪɵ ɢɦɟɧɧɨ ɢɡ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ ɩɨɞɬɜɟɪɠɞɚɟɬɫɹ ɬɟɦ, ɱɬɨ ɩɟɪɜɵɣ „ɩɨɥɶɫɤɢɣ ɝɟɤɡɚɦɟɬɪ” Ȼɪɨɞɫɤɨɝɨ – ɉɪɨɳɚɥɶɧɚɹ ɨɞɚ (1964) – ɛɵɥ ɫɨɡɞɚɧ ɜɫɤɨɪɟ ɩɨɫɥɟ ɩɟɪɟɜɨɞɚ Ȼɪɨɞɫɤɢɦ ɫɬɢɯɨɬɜɨɪɟɧɢɹ Ɍ. Ʉɭɛɹɤɚ
Wisáą páynącą (ɉɥɵɜɭɳɢɟ ȼɢɫɥɨɣ), ɩɪɢ ɷɬɨɦ ɜ ɉɪɨɳɚɥɶɧɨɣ ɨɞɟ ɩɪɢɫɭɬɫɬɜɭɸɬ ɢ ɬɟɤ- ɫɬɨɜɵɟ ɨɬɫɵɥɤɢ ɤ ɩɟɪɟɜɨɞɭ ɢɡ Ʉɭɛɹɤɚ: „ɑɟɪɧɵɣ ɥɨɤɨɦɨɬɢɜ ɪɵɛɭ ɩɭɝɚɟɬ ɫɜɢɫɬɨɦ,/
Ƚɪɨɦɨɦ ɩɭɫɬɵɯ ɩɥɚɬɮɨɪɦ. Ɋɨɳɚ ɞɵɦɨɦ ɭɫɚɬɚ… (Ɍ. Ʉɭɛɹɤ, ɉɥɵɜɭɳɢɟ ȼɢɫɥɨɣ, ɩɟɪ.
ɂ. Ȼɪɨɞɫɤɨɝɨ). ɋɪ. „Ɍɭɱɚ ɪɚɫɬɟɬ ɜɜɟɪɯɭ. Ɋɨɳɚ, ɧɚ ɡɚɜɢɫɬɶ ɪɵɛɟ,/ ɜɞɪɭɝ ɧɵɪɹɟɬ ɜ ɧɟɟ. ɂɛɨ ɪɚɫɬɟɬ ɨɬɜɚɝɚ...” (ɉɪɨɳɚɥɶɧɚɹ ɨɞɚ). ɉɨɹɜɥɟɧɢɟ ɜ ɷɬɨɣ ɫɬɪɨɮɟ „ɪɵɛɵ”
ɢ „ɪɚɫɬɭɳɟɣ ɨɬɜɚɝɢ” ɬɪɭɞɧɨ ɦɨɬɢɜɢɪɨɜɚɬɶ ɱɟɦ-ɥɢɛɨ, ɤɪɨɦɟ ɩɚɦɹɬɢ ɨɛ „ɢɫɩɭɝɚɧɧɨɣ ɪɵɛɟ” ɢɡ ɩɟɪɟɜɨɞɚ Ʉɭɛɹɤɚ.
ɍɠɟ ɜ ɫɬɢɯɨɬɜɨɪɟɧɢɢ ɍɫɥɵɲɭ ɢ ɨɬɡɨɜɭɫɶ (1964), ɬɟɦɚɬɢɱɟɫɤɢ ɛɥɢɡɤɨɦ ɉɪɨ- ɳɚɥɶɧɨɣ ɨɞɟ, ɪɚɡɦɟɪ ɷɬɨɬ „ɪɚɫɲɚɬɵɜɚɟɬɫɹ”, ɢ ɩɨɞɜɟɪɝɚɹɫɶ ɞɚɥɶɧɟɣɲɢɦ ɬɪɚɧɫɮɨɪ- ɦɚɰɢɹɦ, ɩɨɫɥɟ 1974 ɝɨɞɚ ɫɬɚɧɨɜɢɬɫɹ ɨɫɧɨɜɨɣ ɩɪɨɫɨɞɢɢ Ȼɪɨɞɫɤɨɝɨ.
Ɇɨɠɧɨ ɨɬɦɟɬɢɬɶ ɢ ɫɥɭɱɚɢ, ɤɨɝɞɚ Ȼɪɨɞɫɤɢɣ ɫɥɟɞɭɟɬ ɜ ɜɵɛɨɪɟ ɪɚɡɦɟɪɚ ɡɚ ɤɨɧɤ- ɪɟɬɧɵɦ ɩɨɥɶɫɤɢɦ ɨɛɪɚɡɰɨɦ. Ɍɚɤ ɉɟɫɟɧɤɚ (ɉɨ ɯɨɥɦɚɦ ɩɨɞɧɟɛɟɫɶɹ...) – ɫɬɢɯɨɬɜɨɪɟ- ɧɢɟ ɧɚ ɩɨɥɶɫɤɭɸ ɬɟɦɭ, ɧɚɩɢɫɚɧɧɨɟ ɪɚɡɦɟɪɨɦ, ɞɨɫɬɚɬɨɱɧɨ ɪɟɞɤɢɦ ɜ ɪɭɫɫɤɨɣ ɩɨɷɡɢɢ, – ɞɜɭɫɬɨɩɧɵɦ ɚɧɚɩɟɫɬɨɦ ɫɨ ɫɩɥɨɲɧɵɦɢ ɠɟɧɫɤɢɦɢ ɪɢɮɦɚɦɢ. Ɋɚɡɦɟɪ ɷɬɨɬ, ɬɚɤ ɠɟ ɤɚɤ ɢ ɬɟɦɚɬɢɤɚ, ɧɢɤɚɤ ɧɟ ɩɨɞɬɜɟɪɠɞɚɟɬ ɡɚɝɥɚɜɢɹ; ɩɪɚɜɞɚ, ɜ ɉɟɫɟɧɤɟ ɜ ɫɚɦɨɦ ɞɟɥɟ ɰɢɬɢɪɭɸɬɫɹ ɞɜɟ ɩɨɥɶɫɤɢɯ ɩɟɫɧɢ: ɝɢɦɧ (Mazurek Dąbrowskiego) ɢ Czerwone maki na Monte-Cassino, ɧɚ „ɦɨɬɢɜ”, ɬ.ɟ. ɧɚ ɪɚɡɦɟɪ, ɨɧɢ ɧɟ ɥɨɠɚɬɫɹ. Ⱥ ɜɨɬ ɫɬɢɯɨɬɜɨɪɟɧɢɟ Ʌɟɨ- ɧɚ ɉɚɫɬɟɪɧɚɤɚ KolĊda (1942) ɦɟɬɪɢɱɟɫɤɢ ɩɨɥɧɨɫɬɶɸ ɫɨɜɩɚɞɚɟɬ ɫ ɬɟɤɫɬɨɦ Ȼɪɨɞɫɤɨɝɨ.
Ʉɫɬɚɬɢ, ɭ Ʌ. ɉɚɫɬɟɪɧɚɤɚ ɩɪɢɫɭɬɫɬɜɭɟɬ ɢ ɫɥɨɜɨ „ɩɟɫɟɧɤɚ”: „Sáuchaj, sáuchaj piosenki/
Twoja gwiazdka w piosence...”, ɢ ɫɬɪɭɤɬɭɪɧɨɟ ɫɯɨɞɫɬɜɨ ɫɨ ɫɬɪɨɤɚɦɢ Ȼɪɨɞɫɤɨɝɨ, ɫɪ.:
„ponad lasem i polem,/ ponad Polską skrawioną” (Ʌ. ɉɚɫɬɟɪɧɚɤ); „ɇɚɞ ɫɬɪɚɧɨɣ ɨɝɨ- ɪɨɞɨɜ/ ɧɚɞ ɪɨɞɧɵɦɢ ɩɨɥɹɦɢ...” (Ȼɪɨɞɫɤɢɣ). ɍɤɚɡɚɧɧɵɟ ɫɨɨɬɜɟɬɫɬɜɢɹ ɩɨɛɭɠɞɚɸɬ ɫɜɹɡɚɬɶ ɪɚɡɦɟɪ ɉɟɫɟɧɤɢ ɢɦɟɧɧɨ ɫɨ ɫɬɢɯɨɬɜɨɪɟɧɢɟɦ ɉɚɫɬɟɪɧɚɤɚ, ɩɨɷɬɚ, ɜ ɤɨɬɨɪɨɦ Ȼɪɨɞɫɤɨɝɨ ɧɢɱɟɝɨ ɧɟ ɦɨɝɥɨ ɩɪɢɜɥɟɱɶ, ɤɪɨɦɟ ɮɚɦɢɥɢɢ, ɨɛɳɟɣ ɫ ɰɟɧɢɦɵɦ Ȼɪɨɞɫɤɢɦ Ȼɨɪɢɫɨɦ ɉɚɫɬɟɪɧɚɤɨɦ. ɉɨɬɨɦɭ ɱɬɨ ɩɨɯɨɠɢɦ ɪɚɡɦɟɪɨɦ ɧɚɩɢɫɚɧɵ ɢ ɞɪɭɝɢɟ ɩɨɥɶɫɤɢɟ
„ɩɟɫɟɧɤɢ”: Ɍɚ ostatnia niedziela Ɂ. Ɏɪɢɞɜɚɥɶɞɚ ɢ Bagnety na broĔ Ʉ. Ʉɪɚɯɟɥɶɫɤɨɣ, ɜɨɡɦɨɠɧɨ, ɨɪɢɟɧɬɢɪɨɜɚɜɲɟɣɫɹ ɩɪɢ ɧɚɩɢɫɚɧɢɢ ɩɟɫɧɢ ɧɚ ɮɪɢɞɜɚɥɶɞɨɜɫɤɢɣ ɨɛɪɚɡɟɰ.
ɉɪɚɜɞɚ, ɢ ɭ Ɏɪɢɞɜɚɥɶɞɚ, ɢ ɭ Ʉɪɚɯɟɥɶɫɤɨɣ ɩɪɢɫɭɬɫɬɜɭɸɬ ɦɭɠɫɤɢɟ ɤɥɚɭɡɭɥɵ, ɤɨɬɨ- ɪɵɯ ɧɟɬ ɭ Ȼɪɨɞɫɤɨɝɨ. Ʉɫɬɚɬɢ, ɫɥɟɞɭɟɬ ɨɬɦɟɬɢɬɶ ɬɚɤɠɟ ɱɚɫɬɨɬɭ ɫɩɥɨɲɧɵɯ (ɧɟɚɥɶ- ɬɟɪɧɢɪɭɸɳɢɯ) ɠɟɧɫɤɢɯ ɤɥɚɭɡɭɥ ɢ ɠɟɧɫɤɢɯ ɫɥɨɜɨɪɚɡɞɟɥɨɜ ɜ ɫɬɢɯɚɯ Ȼɪɨɞɫɤɨɝɨ (ɨɫɨ- ɛɟɧɧɨ ɩɨɡɞɧɢɯ), ɱɬɨ ɛɨɥɶɲɟ ɫɨɨɬɜɟɬɫɬɜɭɟɬ ɩɨɥɶɫɤɨɣ, ɧɟɠɟɥɢ ɪɭɫɫɤɨɣ (ɢ ɬɟɦ ɛɨɥɟɟ ɚɧɝɥɢɣɫɤɨɣ) ɩɨɷɬɢɱɟɫɤɨɣ ɬɪɚɞɢɰɢɢ. ɗɬɨ ɤɚɫɚɟɬɫɹ ɧɟ ɬɨɥɶɤɨ ɦɨɞɢɮɢɤɚɰɢɣ „ɩɨɥɶɫɤɢɯ ɝɟɤɡɚɦɟɬɪɨɜ”: ɬɚɤ, ɫɚɬɢɪɢɱɟɫɤɚɹ ɩɨɷɦɚ ɉɪɟɞɫɬɚɜɥɟɧɢɟ ɧɚɩɢɫɚɧɚ ɲɟɫɬɢɫɬɨɩɧɵɦ ɯɨɪɟɟɦ ɫ ɰɟɡɭɪɨɣ ɧɚ ɬɪɟɬɶɟɣ ɫɬɨɩɟ ɢ ɩɪɟɢɦɭɳɟɫɬɜɟɧɧɨ ɠɟɧɫɤɢɦɢ ɤɥɚɭɡɭɥɚɦɢ, ɱɬɨ ɡɚɫɬɚɜɥɹɟɬ ɜɫɩɨɦɧɢɬɶ ɫɚɬɢɪɢɱɟɫɤɭɸ ɩɨɷɦɭ ɫɨ ɫɯɨɞɧɨɣ ɦɨɬɢɜɧɨɣ ɫɬɪɭɤɬɭɪɨɣ – Bal w Operze ɘ. Ɍɭɜɢɦɚ, ɛɨɥɶɲɭɸ ɱɚɫɬɶ ɤɨɬɨɪɨɣ ɫɨɫɬɚɜɥɹɸɬ ɬɪɟɯɫɬɨɩɧɵɟ ɯɨɪɟɢɱɟɫ- ɤɢɟ ɫɬɪɨɤɢ, ɬɚɤɠɟ ɫ ɩɪɟɨɛɥɚɞɚɧɢɟɦ ɠɟɧɫɤɢɯ ɤɥɚɭɡɭɥ, – ɩɨɷɦɭ, ɯɨɪɨɲɨ ɢɡɜɟɫɬɧɭɸ Ȼɪɨɞɫɤɨɦɭ, ɩɨ ɜɫɟɣ ɜɢɞɢɦɨɫɬɢ, ɫ ɦɨɦɟɧɬɚ ɟɟ ɢɡɞɚɧɢɹ ɜ 1958 ɝɨɞɭ.
ȼ ɪɚɦɤɚɯ ɨɞɧɨɣ ɫɬɚɬɶɢ ɧɟɜɨɡɦɨɠɧɨ ɩɟɪɟɱɢɫɥɢɬɶ ɜɫɟ ɫɥɭɱɚɢ, ɤɨɝɞɚ Ȼɪɨɞɫɤɢɣ ɩɪɢɛɟɝɚɥ ɜ ɫɜɨɟɦ ɬɜɨɪɱɟɫɬɜɟ ɤ ɬɟɡɚɭɪɭɫɭ ɩɨɥɶɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ ɢ ɤɭɥɶɬɭɪɵ. Ɉɞ- ɧɚɤɨ ɜɫɟ ɜɵɲɟɫɤɚɡɚɧɧɨɟ ɫɜɢɞɟɬɟɥɶɫɬɜɭɟɬ ɨ ɬɨɦ, ɱɬɨ ɟɫɥɢ ɪɭɫɫɤɢɣ ɢ ɚɧɝɥɢɣɫɤɢɣ ɹɡɵɤɢ ɛɵɥɢ «ɪɚɡɜɟɞɟɧɵ» ɩɨ ɪɚɡɧɵɦ ɩɨɥɸɫɚɦ ɩɨɷɬɢɱɟɫɤɨɝɨ ɫɨɡɧɚɧɢɹ Ȼɪɨɞɫɤɨɝɨ,
ɬɨ ɩɨɥɶɫɤɢɣ (ɜ ɩɟɪɜɭɸ ɨɱɟɪɟɞɶ ɹɡɵɤ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ), ɫɨɫɟɞɫɬɜɨɜɚɥ ɜ ɧɟɦ (ɩɭɫɬɶ ɧɟ ɧɚ ɪɚɜɧɵɯ ɩɪɚɜɚɯ) ɫ ɪɨɞɧɵɦ ɢ ɩɪɢɧɢɦɚɥ ɭɱɚɫɬɢɟ ɜ ɮɨɪɦɢɪɨɜɚɧɢɢ ɢɞɢɨɫɬɢɥɹ ɩɨɷɬɚ, ɫɨɡɞɚɜɚɹ ɜɨɡɦɨɠɧɨɫɬɶ ɞɥɹ, ɩɨ ɜɵɪɚɠɟɧɢɸ ɂ. Ⱥɞɟɥɶɝɟɣɦ, „ɪɚɫɲɢɪɟɧɢɹ ɪɟɱɢ”.
ȼɨɡɜɪɚɳɚɹɫɶ ɤ ɤɨɧɰɟɩɰɢɢ ɗ. ɇɢɤɚɞɟɦ-Ɇɚɥɢɧɨɜɫɤɨɣ, ɧɚɫɬɚɢɜɚɸɳɟɣ ɧɚ ɧɟɫɜɨɞɢ- ɦɨɫɬɢ ɬɜɨɪɱɟɫɬɜɚ Ȼɪɨɞɫɤɨɝɨ ɤ ɤɚɤɢɦ-ɥɢɛɨ ɜɥɢɹɧɢɹɦ, ɨɬɦɟɬɢɦ, ɱɬɨ ɨɧɚ ɢɫɯɨɞɢɬ ɢɡ ɜɵɫɤɚɡɵɜɚɧɢɣ ɫɚɦɨɝɨ Ȼɪɨɞɫɤɨɝɨ, ɜ ɱɚɫɬɧɨɫɬɢ, ɜ ɇɨɛɟɥɟɜɫɤɨɣ ɪɟɱɢ: „ɗɬɢ ɬɟɧɢ (Ɉ. Ɇɚɧɞɟɥɶɲɬɚɦɚ, Ɇ. ɐɜɟɬɚɟɜɨɣ, Ⱥ. Ⱥɯɦɚɬɨɜɨɣ, Ɋ. Ɏɪɨɫɬɚ, ɍ. Ɉɞɟɧɚ – ɫɦɭɳɚɸɬ ɦɟɧɹ ɩɨɫɬɨɹɧɧɨ, ɫɦɭɳɚɸɬ ɨɧɢ ɦɟɧɹ ɢ ɫɟɝɨɞɧɹ. [...] ȼ ɥɭɱɲɢɟ ɫɜɨɢ ɦɢɧɭɬɵ ɹ ɤɚɠɭɫɶ ɫɟɛɟ ɤɚɤ ɛɵ ɢɯ ɫɭɦɦɨɣ”. ȼ ɫɜɹɡɢ ɫ ɷɬɢɦ, ɩɨ ɦɧɟɧɢɸ ɢɫɫɥɟɞɨɜɚɬɟɥɶɧɢɰɵ, „Poeta wy- raĨnie podkreĞla syntezĊ wpáywów, nie wpáyw poszczególnych skáadników, dlatego teĪ szukanie w jego wierszach ukrytych aluzji czy teĪ cytatów z twórczoĞci jego ulubieĔców jest niewáaĞciwe i nietaktowne”14. Ɉɞɧɚɤɨ ɦɵ ɫɨɜɟɪɲɚɟɦ ɬɚɤɭɸ „ɛɟɫɬɚɤɬɧɨɫɬɶ”, ɝɨɜɨ- ɪɹ ɨ ɩɨɥɶɫɤɨɣ ɥɢɬɟɪɚɬɭɪɟ ɧɟ ɢɡ ɫɤɥɨɧɧɨɫɬɢ ɤ „ɜɵɝɪɵɡɚɧɢɸ ɫɥɨɜ” (ɤɚɤ ɜɵɪɚɡɢɥɫɹ ɩɨ ɬɨɦɭ ɠɟ ɩɨɜɨɞɭ Ⱥ. ɍɥɚɧɨɜ15), ɚ ɢɫɯɨɞɹ ɢɡ ɬɨɝɨ, ɱɬɨ ɨɬɜɟɱɚɥ Ȼɪɨɞɫɤɢɣ ɩɨɥɶɫɤɢɦ ɱɢ- ɬɚɬɟɥɹɦ ɜ Ʉɚɬɨɜɢɰɚɯ ɜ 1993 ɝɨɞɭ ɧɚ ɜɨɩɪɨɫɵ ɨ ɜɥɢɹɧɢɢ ɧɚ ɧɟɝɨ ɩɨɥɶɫɤɨɣ ɤɭɥɶɬɭɪɵ.
Ɍɚɤ, ɩɨɷɬ, ɱɭɬɶ ɥɢ ɧɟ ɹɪɨɫɬɧɨ ɨɬɪɢɰɚɜɲɢɣ ɜɥɢɹɧɢɟ ɧɚ ɫɜɨɟ ɬɜɨɪɱɟɫɬɜɨ Ⱦɠ. Ⱦɨɧɧɚ ɢɥɢ ɍ. Ɉɞɟɧɚ, ɨɯɨɬɧɨ ɩɪɢɡɧɚɟɬ ɜɥɢɹɧɢɟ Ʉ.ɂ. Ƚɚɥɱɢɧɫɤɨɝɨ (ɬɚɤɠɟ ɧɚɱɚɜ ɫɥɨɜɚɦɢ ɨ „ɫɭɦɦɟ ɜɥɢɹɧɢɣ”): „Na pewnym etapie, jeĞli mogĊ tak wyraziü, mojego rozwoju, by- áem pod silnym wpáywem GaáczyĔskiego, przekáadaá go, w rezultacie widzicie PaĔstwo przed sobą czáowieka, którego cząstkĊ stanowi GaáczyĔski”16. ȼ ɞɪɭɝɨɦ ɫɥɭɱɚɟ, ɨɬɜɟɱɚɹ ɧɚ ɚɧɚɥɨɝɢɱɧɵɣ ɜɨɩɪɨɫ, ɨɧ ɧɚɡɵɜɚɟɬ ɢ ɞɪɭɝɢɟ „ɨɬɞɟɥɶɧɵɟ ɫɨɫɬɚɜɥɹɸɳɢɟ” ɩɨɥɶ- ɫɤɨɝɨ ɜɥɢɹɧɢɹ, ɩɨɷɬɨɜ, ɤɨɬɨɪɵɟ ɮɨɪɦɢɪɨɜɚɥɢ ɟɝɨ ɨɬɧɨɲɟɧɢɟ ɤ ɞɟɣɫɬɜɢɬɟɥɶɧɨɫɬɢ:
ɇɨɪɜɢɞ, ɋɟɦɩ-ɒɚɠɢɧɫɤɢɣ, Ɇɢɥɨɲ, ɏɟɪɛɟɪɬ, ɏɚɪɚɫɵɦɨɜɢɱ... Ⱥ ɥɭɱɲɟ ɜɫɟɝɨ ɯɚɪɚɤ- ɬɟɪɢɡɭɟɬ ɟɝɨ ɨɬɧɨɲɟɧɢɟ ɤ ɩɨɥɶɫɤɨɦɭ ɜɥɢɹɧɢɸ ɧɚ ɫɟɛɹ ɫɥɟɞɭɸɳɟɟ ɜɵɫɤɚɡɵɜɚɧɢɟ:
„Trudno mnie odpowiedzieü na to pytanie, poniewaĪ to co najmniej tak, jakby kot miaá odpowiedzieü na temat roli, jaką odgrywa w jego organizmie jego wáasny ogon. To, co znam, z czym siĊ spotkaáem i co ceniĊ w polskiej literaturze, staáo siĊ mną i jest ze mną.
To ja”17. ɂɦɟɧɧɨ ɩɨɬɨɦɭ ɦɵ ɫɱɢɬɚɟɦ ɫɬɨɥɶ ɜɚɠɧɵɦ ɜɵɹɜɥɟɧɢɟ ɢ ɚɧɚɥɢɡ ɩɨɥɶɫɤɨɝɨ ɤɨɦɩɨɧɟɧɬɚ ɩɨɷɬɢɤɢ Ȼɪɨɞɫɤɨɝɨ ɤɚɤ ɧɟɨɬɴɟɦɥɟɦɨɣ ɱɚɫɬɢ ɟɝɨ ɩɨɷɬɢɱɟɫɤɨɝɨ ɹɡɵɤɚ.
14 E. Nikadem-Malinowska, op. ɫit., ɫ. 21.
15 Ⱥ.Ɇ. ɍɥɚɧɨɜ, ȼɵɝɪɵɡɟɧɧɵɟ ɫɥɨɜɚ, ɪɟɰɟɧɡɢɹ ɧɚ: Ⱥɧɞɪɟɣ Ɋɚɧɱɢɧ. ɇɚ ɩɢɪɭ Ɇɧɟɦɨɡɢɧɵ: ɂɧɬɟɪɬɟɤɫɬɵ Ȼɪɨɞɫɤɨɝɨ, ɇɨɜɨɟ ɥɢɬɟɪɚɬɭɪɧɨɟ ɨɛɨɡɪɟɧɢɟ, Ɇɨɫɤɜɚ 2001, [online] <http://old.russ.ru/krug/kniga/20020211_
ulan.html>.
16 Cyt. za: E. Tosza, Stan serca. Trzy dni z Josifem Brodskim, „ĝląsk”, Katowice 1993, ɫ. 43.
17 Ibidem, ɫ. 124.
Streszczenie
Polski komponent w poetyce Josifa Brodskiego
W artykule analizowany jest wpáyw literatury polskiej na twórczoĞü Josifa Brodskiego. Związki wierszy Brodskiego z pierwowzorami polskimi widoczne są na róĪnych poziomach tekstu: fone- tycznym, leksycznym, prozodycznym oraz intertekstualnym. Wskazano niektóre skáadniki techniki poetyckiej Brodskiego, które zdaniem autorki artykuáu wystĊpują w utworach m.in. M. Pawlikow- skiej-Jasnorzewskiej, L. Pasternaka, J. Iwaszkiewicza oraz M. Háaski.
Summary
Polish component in Joseph Brodsky’s poetics
The article deals with the influence of Polish literature on the creative work of Joseph Brodsky.
The relation of Brodsky’s poetry to Polish sources is shown on different text levels: phonetic, lexical, metrical and intertextual. It is maintained that some elements of Brodsky’s poetic technique are rooted in the works by M. Pawlikowska-Jasnorzewska, L. Pasternak, J. Iwaszkiewicz and M. Hlasko.
Key words: Joseph Brodsky, Polish influence, text levels, Marek Hlasko, Jaroslaw Iwaszkiewicz.
