“You are so far away, you don't even exist...”: Negative Constructions in the Poetic Language of Mykola Vinhranovsky
Abstract
Mykola Vinhranovsky quite actively uses negation in his poetic language, the systematic study of which is relevant because it allows us to trace the unique nature of the writer's world perception and linguistic thinking.
The aim of our research is to identify the structural and semantic features of negative constructions in M. Vinhranovsky’s poetic language, and to determine their text-forming functions and semantic load.
The author’s poetic syntax is characterized by various forms of negation in terms of grammatical expression. The artistic potential of negative constructions typical of M. Vinhranovsky's poetic idiostyle is conditioned by the reflection on Ukraine's destiny and the conveyance of the feelings of the lyrical subject, who is inseparably connected with it. Negative constructions contain evaluative judgments that reflect the lyrical subject's life values. General negative sentences actively function, conveying the absence of processes or phenomena whose occurrence is anticipated, as well as the transience and changes in nature or the lyrical hero's life. Verbs with the negative particle sometimes serve as climactic moments in the poems.
Impersonal constructions with the negative word нема/немає (there is no/there isn't) are quite frequent, creating a gradation of the feelings being reflected. Multiple negation, in particular, conveys the boundary between the real and the unreal. We observe instances of the particles не and ні functioning as the subject and object of the sentence to express various emotions and states.
Partial negative sentences convey the lyrical hero's reflection on experience. The author combines different types of grammatical negation within a single sentence, specifically to create the image of time. Negations pertaining to secondary sentence parts are often unexpected and serve to express the rheme. Negation is enhanced by amplification, various types of repetition, contrast, and becomes a component of chiasmus.
Thus, negative constructions varying in type of modality-declarative, imperative, and optative-express the subtlest changes in the lyrical hero's moods and feelings through negation. Implicit negative semantics of rhetorical questions introduce special expressiveness.
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References
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