У статті аналізуються міфопоетичні особливості парадигми Федора Одрача, алюзійно-символічний підтекст біблійних та язичницьких міфем, особливості їх зрощення в структурі оповідань «Танок журавлів» та «Поліська казка». Досліджено образи-символи, які репрезентують сфери міфічного двосвіття. З’ясовується етнопсихологічна особливість метемпсихозу душі померлої у птаха. Досліджено специфіку хронотопу оповідання Федора Одрача «Танок журавлів», а також
психоемоційний стан головного героя, прояв його міфічної свідомості, в якій віддзеркалились міфи та фольклор Полісся. Під час аналізу алюзійно-символічного підтексту міфем лебедя Ґо-ґо та голуба з оливковою гілкою, зроблено спробу
з’ясувати міфічні структури, з яких виокремились ці міфеми.
Introduction. The features of mythopoetics of T. Odrach in the article are analyzed. The allusive -symbolic subtext of biblical and pagan myths, features of their merging in the structure of the stories "Dances of Cranes" and "Polissya Tale" ar e investigated.
Purpose. To find out the sources of the mythological outlook of Theodore Odrach, to analyze elements of legendary-mythological traditions, in particular, images-symbols of the plant, animal world and time-spatial and landscape patterns that represent the spheres of mythical two-worlds. Results. The images-symbols that represent the spheres of mythical two-worlds in the article are investigated. The ethnopsychological feature of metempsychosis of the soul in the bird is revealed. The specificity of the chronotype of Theodore Odrach’s «The Dance of Cranes», and the psychoemotional state of the main character, manifestation of his mythical consciousness, are investigated. The allusion-symbolic subtext myth of the swan Gho-gho and the pigeon with an olive branch is understood. An attempt has been made to find out the mythical structures from which these myths have been isolated. The symbolic image of the cranes in the article is analyzed. In the chronotype of the composition the image of the cranes connects in a single picture real and mythical. Allusion subtext is revealed through such mythological structures: 1) in the Polissia mythology to see the dance of cranes means to win happiness; 2) cranes in the fall fly into mythical country Yrii; 3) cranes fly by milky way to the country where Jesus was born; 4) cranes accompany the dead souls to the vyrii. So, it turns ou t that in the story «The Dance of Cranes» interwoven several mythological plots (their fragments), which had long been used in Polissya. The motive of the search of cranes is structural. His symbolic significance in the search for a child of happiness is found. The mythical image of the white swan Gho-gho in the story «Polissya Tale» is central. The image of a white swan should be associated with pre-Christian symbolism, his image is found in the legend of the creation of the world by Sokol-Rod. The white swan is a personality of goodness and beauty. Together with the black swan, they form a dichotomous unity. The images of a pigeon, oak are symbolic. Conclusion. In the stories of T. Odrach «The Dance of Cranes» and «Polissya Tale» combines the biblical and pre-Christian legendarymythological tradition. T. Odrach reveals knowledge of Ukrainian mythology and folklore, demonstrates the mythological archetype of thinking.
