Depicting the unattractive "Cossack perekotypole", he leaves the question open.

Depicting the unattractive "Cossack perekotypole", he leaves the question open.

E. Malanyuk not only raised the defining question of Ukrainian reality, but also found the necessary solution, devoting his entire creative life to it. The poem "In Memory of T. Osmachka" is a reflection on the fate of Ukrainians. The effect of tragedy, pain is achieved by the special structure of each line, a kind of rhythm – solid, iron. Each line is a pain of separation from the native soul, it is a protest against death. The poet seems to ask God for at least a minute of earthly life for his fellow pen. The poem was written a few days after T. Osmachka’s death, when the pain of loss was still fresh and the heart was protesting against it. An appeal to a poet who "will not be imprisoned by the clay of a foreign country" is also an appeal to Ukrainians who live abroad and dream of returning to Ukraine at least after death. The unity of man and his native land is revealed through the image of an oak tree that will dissolve its branches on the banks of the Dnieper and make a quiet noise over the fragrant carpet of thyme. This idyllic picture gradually illuminates the dark day of T. Osmachka’s death. This poem is somewhat reminiscent of V. Symonenko’s poetry "Grandfather died", because death in both works is not perceived as the end of life. Of course, the world has lost a lot, but the funeral of the "old grandfather" (Symonenko) and the "unique" Osmachka is not a tragedy, because both left a noticeable mark in life, in people’s souls. And this is the best memory. The last picture of the poem is symbolic: At the bottom the Dnieper will roll blue, And in Kyiv chestnuts will roar. The flowing Dnieper is a symbol of measured life, the white color of chestnuts is the beauty of nature, its spirituality, and all together it is a symbol of the immortality of the poet-citizen’s soul. And, probably, not only Todos Osmachka, but also Yevhen Malanyuk. And it should be preserved as a real gift of God, so that it does not become a "useless gift" for us, foolish Ukrainians. Ancient Greece, or Greece, is considered the cradle of European civilization, a model of perfect beauty, a model of high ethics. So nothing strange happened when E. Malaniuk likened Ukraine, which belongs to Europe, to Greece. After all, the land, through which the path "from the Vikings to the Greeks" has long passed, has always impressed foreigners with its natural artistry, singing, aesthetic sense and moral virtues. Calling the Motherland "antique-clear", the poet did not mean the one-sided beneficial influence of the Hellenic world on it. For him, Ukraine has long been an integral part of the Black Sea and Mediterranean natural and spiritual environment, directly involved in ancient culture. He proved these thoughts in exquisite short scientific-critical essays (essays), which appeared in two editions of the Book of Observations (1962, 1966), in agreement with the publications of other emigrant writers, in particular Yu. Lypa. Such considerations of E. Malaniuk affected his historiosophical lyrics, one of the examples of which is the poem "I know – honey of the sun, oh Lado …". Here, the symbol of "steppe Greece" combined two worlds – ancient and national, associated with the archetype of "steppe", which is clearly revealed in the character of the Ukrainians, steadily unhurried in the vastness of vast landscapes. At the same time, the image of the steppe hid the tragic meaning revealed in the historical perspective, meaning a constant "corridor" filled with unsolicited Horde invasions, identified in the poem with the "Polovtsian predatory khan". Ukraine’s natural connection with the Black Sea and Mediterranean environment is doomed to bloody gaps. However, it was preserved in the depths of the collective consciousness, especially in myths, in the names of some gods of Dnieper origin (Artemis, Ares, etc.). No wonder E. Malaniuk mentions Lada, known in the Greek version as Leto, in Latin – as Latona, equivalent to Lada – the proto-Ukrainian great goddess of spring and conjugal harmony, usually depicted with a child in her arms, with a wheat ear, flowers, red apple. She points to the historical longevity of Ukrainian reality from antiquity to the present, engraved in national archetypes, despite the fact that it has always been destroyed by the "hurricane" of the Polovtsian, Bolshevik or any other horde. Ukraine has always been inviolable for the poet in its essence, appearing in historical forms and colors: then "cherry blossom", then "… blue myth (ie myth) In the golden noon honey". E. Malanyuk painfully experienced the forced separation from the Motherland, which is characteristic of all emigrants, he perceived it already in the form of a "veil-morgana", an unattainable mirage, which was seen only by wanderers in the desert. Then came the bitter metaphor of "On the Sands of the Emigrant Sahara," inspired, apparently, by the bleak routines in the Kalisz camps of interned soldiers located among the sands. Here E. Malanyuk was forced to feel for the first time the sensitive breath of exile, but did not lose faith of return to the lost paradise (” To us unwise – vain gift! ”), To Ukraine. In the poem "Letter" E. Malaniuk believed that wisdom is the history of the Motherland. Yevhen Malanyuk writes letters to himself, confesses to Ukraine. He creates poetry from his own flesh and blood, arguing and denying himself. In order to shift the national consciousness, to awaken it, to force Ukrainians to critically evaluate the past and the present, it was necessary not only to write about the positive in historical experience, but also to have the courage to point out the shameful in native history. But such dislike for Ukraine is a painful, incurable wound in the poet’s heart. Two contradictory manifestations of mentality: humility and wisdom, expressed by two systems of images, oppose each other: Homeland is silent – the day thunders, the enemy laughs in vain, wisdom grows – a joyless fruit. In fact, for many years the wisdom of the Ukrainian people has been "growing", and it has never succeeded in statehood. The comparison of wisdom with a heavy stone growing into a joyless fruit only emphasizes the motive of sorrow and hopelessness. Wisdom is difficult to give to a person, just as statehood grows slowly in our country, especially at the beginning of life. And this is natural, because only from the height of the lived years it is possible to estimate the made. And one more thing – the works of Yevhen Malanyuk have long been silenced or considered harmful. Even the wisdom of "indifferent grandchildren" grew slowly. And now that we have read his angry lines, have we all become a little wiser, or is this stone on our feet again preventing us from going into a bright future? So coming out of the deaf steppe, From the sighs of the suffering land, I carve a silent biography On the wild stone of centuries. The title of the poem "Stanzas" is used as a poetic genre, different from the meaning of the term of the same name, which indicates a combination of several lines in the first verse, connected by a corresponding system of rhyme. "Stanzas." The concept of "stanza" in relation to the work of E. Malaniuk is used as a poetic genre, different from the meaning of the term of the same name, which indicates a combination in a poem of several lines, interconnected by a corresponding system of rhyme. As soon as the harmonious space fills the "topless battlefield", it crushes the "Cossack perekotypole", unable to take root in the soil of the native land. With this surprisingly accurate metaphor, E. Ma-lanzh snatched the essential features of the Ukrainian soul, incapable of internal self-discipline, prone to otamanship, such that causes national chaos. Here it is, the sad truth of the Cossacks: having a glorious history, it lost the opportunity to establish itself in it due to internal strife and discord, disappeared with the Zaporozhian Army and the Hetmanate. Reflecting on the harsh lessons of the past, the poet does not find out the causes of national narrative story topics ruin, allowing the reader to reveal them himself, to see them in himself, in his own mentality and to draw appropriate conclusions. Depicting the unattractive "Cossack perekotypole", he leaves the question open. "Whether the steppe swallows with terrible space, whether the wild boast will take over Mazepa." Here the fatal Ukrainian question is outlined – "To be or not to be?" and continuing his case until the logical conclusion. Yevhen Malanyuk’s "Prayer" is an angry curse on those who suffer humiliation. The poet asks God and Ukraine to bless the baking of the "deadly child of game." Although the poem bears the name of Mazepa and the place of glory of the defenders of Ukraine – Kruty, yet the historical memory relentlessly brings us back to the present, where the eyes shamelessly eat. Those who live without words and honor. In fact, the people themselves cannot go under the yoke, they cannot "infuriate" the soul. No! This cannot be! And it is … ” The storm has passed … ” ” over the field of rue and poison ” – and what do we have today? And nothing. The same "smoke of game", except under the yellow and blue flags. The poetic word is not only an ode, but more a bitter truth, thoughts about yourself and for yourself: "What have I done for Ukraine today?" Everyone must ask themselves: "Grandson of a chubby chumak" and "Sichovyk pale great-great-grandson" … ”. Complex poetic layers appear from the lines of the poem "Vision". This is the everyday world, and social upheavals, and the human soul. This is highlighted by the ruthless pen of a patriot of Ukraine who seeks to awaken the "dormant conscience" of caring grandchildren. And when people already have so many sins, then the heavenly forces cannot protect them. Such a view of our history required an unusual worldview. That is why in the poem there is such a symbolism of images, where both the Last Judgment, and the Mother of God, and St. George the Victorious are united by the power of the author’s talent. This is our History, a kind of Book of Observations, where each generation must write down its truth, its heroic and tragic. Every page of the Book is an appeal to future generations, because life is eternal and cannot be stopped by any winds, no storms of life. Thus, Yevhen Malanyuk addresses the eternal problems of human spirituality, the soul that strives for highness and is forced to do good on earth (that is, to see) in order to boldly stand before God’s judgment. The poem "Vision", in which the terrible intonations of the Holy Scriptures and Shevchenko’s prophecies are felt, was written in 1933. It was then that the Bolsheviks organized the Holodomor in Ukraine and the Nazis came to power in Germany. Inspired by the dramatic events of the interwar twentieth century, the work was concerned not with despair but with faith in the obligatory, albeit harsh justice in the world and in Ukraine. The poet hoped that this would happen soon. "Planes will twist like leaves. Towers sway and fall." In fact, history has made serious adjustments to the prediction of E.