The
article summarizes the key motifs previously identified by researchers in the
poetry of V. Kobylianskyi, reevaluating them from a сurrent perspective,
particularly removing the ideological bias that was mandatory for critics
during the Soviet period. This study examines the creative development of V. Kobylianskyi
through the lens of his biography, focusing on the «Bukovynskyi» and «Kyivskyi»
periods of his literary career. The «Chernivtsi» intellectual and cultural
environment that shaped his artistic growth is characterized, with particular
attention to the young poet’s aesthetic orientations and the factors that led
to his emigration. The paper also explores Kobylianskyi’s life in Kyiv,
highlighting his engagement with Symbolist circles such as «Bila Studiia»,
«Muzahet», and the eclectic «Mystetskyi Lokh».
Additionally,
the study traces his key publications, both poetic and literary-critical,
offering insight into his contributions to Ukrainian modernist discourse. Unique
stylistic techniques, motifs, and concepts, previously unnoticed, are
identified. The paper emphasizes the experimental nature of Kobylianskyiʼs
primarily Symbolist poetic pursuits, his work with language, and his
exploration of various poetic modes. Free, original, specific urban motifs with
associations and allusion are noted. The poems such as «Bukovynski
motyvy», «Liubliu ya
rev i ryk…», «Syplye,
syplye sad samotnii», «Verkhovynskyi
bir», «Ya
sokil z hir»,
and «Tak
smutno-prekrasni…» are
analysed.
Alongside
the previously studied concept of Kobylianskyiʼs lyrics – «krasy
perekhodu yak naivyshchoi krasy» – another vital and dominant concept in his
poetry, «kordotsentryzm», is
highlighted. This is evident in several poetic texts, including «Try roky yak
kynuv ya...», «U tebe,
kokhanyi mii kraiu», «Khto tak
khutko...», «Ye v sertsi
poeta...», «Shmatochok
neba», «O pisne,
nezahoienyi boliu!..», etc.
Additionally, the significant motif of a «khram chy zamok nad vodoiu», which, while
symbolic, refers to entirely real precedents, is noted.
