У статті розглянуто феномен «тихої лірики» в порівняльному контексті двадцятих та шістдесятих-всімдесятих десятиліть ХХ століття. Проаналізовано ідеологічну складову «тихої лірики» та «парнасівської поезії», яка полягала у демонстрації мовчання – внутрішній непогодженості із політичною узурпацією мистецького простору другої половини ХХ століття. Репрезентовано провідні художньо-естетичні домінанти поетичних угрупувань, які апелювали до безпосереднього зв’язку людини із природним універсумом, звернення до внутрішнього світу ліричного героя, національної самоідентифікації, історіософського осмислення людського існування в соціумі.
Introduction. Free and unbiased creative writing – «quiet lyric poetry» and neoclassic poetry existed in complicated cultural and political circumstances discriminating against liberal society, focusing on state censorship and ideology of socialist realism. Purpose. The purpose of our article is to assess the aesthetic criteria of «quiet lyric poetry» in the ХХ century literary process as compared aspect to the literary writing of the neoclassicists in the context of socialist realism ideology. Methods. The scientific solution of the research problem involves hermeneutic, comparative, cultural and historical methods. Results. Different chronological poles of the ХХ century san the rise of two poetic groups, whose creative writing was a reaction to certain socio-political realities of that time. The aesthetic program of the neoclassicists and «quiet lyric poets» focused on the observance of the high moral principles in the creation of high poetic quality. Рoets appealed to the finest beauty in the literary text, which was popularized at the ideological and content levels and realized in poetic forms. The common desire was to get rid of ideological pressure through the principled position of silence . The historiopathic themes dominated in the Parnassian poetry, which «quiet lyric poets» deliberately avoided it, having chosen an alternative of the artistic reception of ethnographicism, interpenetration with the natural space as an opportunity for a kind of creative rehabilitation. Originality. A comparative artistic aimage analysis of the literary phenomenon of «quiet lyric poetry» and neoclassical poetry in the context of homo silentio has been carried out on the example of the Ukrainian poetry of the 20 -30s and 60-80s of the ХХ century. Conclusion. Eimilarity of «quiet lyric poetry» and neoclassical poetry consisted in the categorical rejection of the ideological component in the poetic text, considering it to be aesthetically imperfect. The artistic and image syst em of «quiet lyric poets» was characterized by natural philosophical and folklor dominants, while neoclassical poems were marked by
antique and calokagative motifs that denied the populist orientation in the lyrical text.
