Literary and musical correlations in Emma Andievska's lyrics

The relevance of this article is stipulated by the need for theoretical understanding and generalization of creative activities of the modern Ukrainian poets who resort to the means of related arts to achieve maximum expressiveness of the poem, its emotional and expressive impact on the reader. The article is devoted to the intermedial analysis of the lyrics by Emma Andievska, the representative of the Ukrainian diaspora, namely such an aspect of the problem as the coverage in the poem of connections with music as an unimaginable art form. The article considers how a musically gifted creative person without the appropriate education is able to implement his/her passion for this art form in lyrics, while showing both mastery of musical terminology and knowledge of the history of many musical instruments, subtle perception of their acoustic capabilities: the viola, the violin, the horn, and the xylophone. The appeal to words-signals (song, melody, the violin) is found in the poetess' poems, as well as the associative way of reproducing musical impressions from concerts that she gained, and the masterful play of performers, who, however, are not specified. The poetess has established the actualization of many ancient instruments, including the basol, the sambika, the clavichord, the orpheon, the spinet, the domra, the templipito, which serve as signals of the connection between these arts — literature and music. It is revealed that the most frequent in her lyrics is the ancient Chinese gong, which acquires a sacred sound in her interpretation, and the oboe, characterized by a special permeability of sound. The flute, endowed with anthropomorphic properties, is in the foreground among the Ukrainian musical instruments. The poetess also honoured the "queen of the orchestra" — the violin, recreating the impression of playing this stringed bowed instrument with significant timbre capabilities. The synaesthesia worldview of Emma Andievska, who reproduces auditory impressions with the help of visual representations, is demonstrated. The poetess subtly captures the 'music' of nature and conveys it by verbal means. The following levels of poetic coverage of music in her poems are determined: semantics, structures, phonics, rhythms. Selected levels of interaction are considered in the relationship, complementarity, because phonics often emphasizes the semantics of the text, rhythm — its emotional tone. It is established that the poetess, like composers, resorted to numerous repetitions: phrases, words, sounds, reaching the sound expressiveness of the poem.