The article deals with the problem of mythopoetics in the Yakut literature, in particular, in the works of the first Yakut classical writers A.E. Kulakovsky, A.I. Sofronov, P.A. Oyunsky. Early mythology becomes a sign of one of the sources for the emerging Yakut literature and its national identity, reflecting the original mythological consciousness of the people. Mythological traditions pass into the category of written literature, as they realize its artistic functions. The first writers revealed the ideas of their works through mythopoetics, used mythopoetics in creating unique images and plots. In difficult times for the Yakut people, writers had to create allegorical works in which mythopoetics became a way of allegorical expression of the content of works. Thus, mythopoetics played a huge role in the work of the first Yakut writers. They, using mythopoetics, were able to create their major philosophical works, significant in the Yakut literature to the present day. Writers raised the problems of the survival of the people in the tragic circumstances, deepening and broadening the universal sound of their works.
This article attempts to conduct a literary analysis of the poem titled Byrastɨ (Farewell), which is a work of a classic Yakut writer P.A. Oyunsky. One of the best works written by the classic Yakut writer, Platon Oyunsky "Byrastɨ" was previously regarded by scholars from the point of view of the literary analysis approach. In order to give a more objective insight of the concept and content behind this poetic masterpiece, the authors of the article completed a full philological analysis, which includes both-literary and linguistic research; the authors of the article singled out linguistic units, semantic fields and analyzed the grammatical structure of the text. Fundamental works of Y. Lotman, R. Jakobson, D. Magomedova, M. Gasparov served as the theoretic and methodological basis for the article. The research findings presented by above mentioned scholars justify the necessity to complete a structural analysis of the non-fiction work on the phonological, stylistic levels as well as the conceptual and imagery level. Based on the systematic philological analysis of the poem under study, we have come to the following conclusions: being and innovative poet, P. Oyunsky mastered his skills reaching a high level of professionalism; this can be vividly seen on the phonological level of the poem: it contains equally represented cases of vertical and horizontal alliteration as well as phonomorphological (grammatically homogenous) rhyme. Using the image of the sea as a symbol, the main character says farewell to his life sensing that the end is near. The poem became a requiem for the poet; because of this, it contains a prevailing number of nouns with predominantly 1st person possessive affixes. This allows the poet to express his deepest thoughts. The verb forms are represented by figurative and onomatopoetic words, which give the poem not only its lyricism but also solemnity. This poem became a profound work of the poet. It contains all the themes that he expressed in his creative work; the following thematic fields can serve as an example: "human and nature", "time and space", "human and society", "death", "the poet and immortality". The author's turning to the image of the sea, shows that Oyunsky followed the aesthetic principles of Romanticism and the traditions of Russian literature established by A. Pushkin, M. Lermontov, and M. Gorky.
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