The Anthroponymicon of Gennady Oyar (based on the collection "Echoes of the Heart")

Savitskaya Ul'yana Nikolaevna Student; Institute of National Culture and Intercultural Communication; Mari State University 44 Kremlevskaya Street, Yoshkar-Ola, Republic of Mari El, Russia Ulyana2407@mail.ru Other publications by this author

Kudryavtseva Raisiya Alekseevna Doctor of Philology Professor of the Department of Finno-Ugric and Comparative Philology at Mari State University 424002, Russia, Respublika Marii El, g. Ioshkar-Ola, ul. Kremlevskaya, 44, kab. 503 kudsebs@rambler.ru Other publications by this author

Introduction

Anthroponyms are an integral and important artistic component of the depicted world in modern Mari lyrics.

An anthroponym is "a single proper name or a set of proper names identifying a person", "the name of any person: real or fictional" ^{[1, p. 169]}, including the hero of a folklore and literary work.

Anthroponyms in a work of fiction are not just "labels" for distinguishing characters, they are an artistic device by which the author reveals characters, sets semantic accents, builds a composition, translates an idea, creates the style and atmosphere of the text.

Anthroponyms "assume the status of an important informative, semantic element of an artistic work" ^{[2, p. 248]}. In this sense, they are interesting to the researcher not only as means that contribute to the "adequate perception and interpretation of the idea of a work" ^{[2, p. 248]}, but also as a way of presenting its contextual content, as a method of contextual poetics.

In this article, it is in this aspect that the anthroponymicon of the modern Mari poet Gennady Oyar, presented in his collection "Shamsavysh" (Echoes of the Heart) (2008), will be considered.

The article is a continuation of our research devoted to the study of specific "poetic techniques by which the author includes content outside the text" ^{[3, p. 328]}. Earlier, we studied the epigraph as a device of contextual poetics [see: 4]. In this article, anthroponyms are considered as such a device in a lyrical text.

The research methods are historical-genetic, comparative-typological, and structural-semantic; the work uses textual, intertextual, and contextual analysis of works of art.

Research results, discussions

The following types of anthroponyms are presented in Oyar's collection "Echoes of the Heart":

– personal name (given name at birth): Nikon ("Shambel yilmem"); Yeremey and Vasli (Unchyshto ӱarnya"); Semalche ("Toyash nagayat gyn aydem...");

– last name (generic or family name): Mukhin ("Shӱmbel yilmem"); Yesenin ("Shӱrgym shӱalten pamash vӱ dene..."); Saint-Saens, Mozart and Chopin ("SӱRetche");

– first and last name: B. Pasternak ("Tylat lekman, artist, tylat..."); E. Yevtushenko ("Shim aylysh tat-vlak..."); V. Columbus (Unchyshto ӱarnya"); Yivan Smirnov ("Nigush yokrok dec om kert tache shylyn..."); Semyon Nikolaev ("Shm-chong ok shinche kuzhytyn kuzhuzhym...");

– nickname (unofficial name): Apakai (Unchyshto ӱarnya");

– alias (selected name): Yivan Kyrlya ("Ilet pyrlya, Yivan Kyrlya!", "Shumbel yilmem"); Shabdar, Ipai, Yalkain and Savi ("Shumbel yilmem"); Yivan Yamberde ("Siretche"); Palantai ("Mari Concert");

– anthroponyms of folklore and mythological texts and films (names of fictional characters): Mustafa ("Ilet pyrl, Yivan Kyrl!"); Akpatyr ("Toyash nagayat gyn aydin..."); Orpheus ("Kalyk muro"); Yivan ("Yomak da chyn").

Within the framework of the study of contextual poetics, which "should be considered as a complex system of forms of representation of contextual content, means and techniques of its formation in the text" ^{[3, p. 327]}, the following traditional functions of anthroponyms in a literary work are relevant:

– semantic and symbolic (a name is a symbol of an epoch, an idea, a cultural code);

– socio‑historical and ethnocultural (the name marks the epoch, environment, profession, national and regional affiliation, sets the historical and cultural context);

– intertextual (names connect the work with other texts – literary, folklore, mythological, religious subjects, revive archetypal meanings, embed the author and his characters in the tradition of world culture);

– emotionally evaluative and authorial (the author's attitude towards the character is expressed through the name; in this case, we are dealing with pseudonyms and nicknames, unusual names);

– psychological and identification (the name reflects the self-perception of the author or character, symbolizes an internal turning point in fate).

Let's consider the types and functions of anthroponyms in Oyar's lyrics, focusing on the contextual content of his texts.

Many of the author's works feature the names and surnames of famous Russian poets, as well as the names, surnames, pseudonyms and nicknames of Mari writers.

Among Russian poets, the collection "Echoes of the Heart" pays special attention to Sergei Yesenin; it contains translations of Yesenin's poems, as well as reflections (essays) Oyara about the Russian poet. The Mari poet titled his essay "Myyn Yesenin" (My Yesenin), thus indicating his sincere love for the Russian author and reverent attitude towards him as a teacher in poetry. Oyar creates a contextual portrait of Yesenin, the poet, and a vital (author's) context by presenting his translations of fragments of his poems and resorting to vivid figurative expressions such as "Rush poeziyn shir'tyn shialtyshe" ^{[5, p. 58. Here and further, Oyar's quotations are given for this publication, only the pages are indicated in square brackets. – Russian Russian poetry]} (The Golden Pipe of Russian poetry [hereafter, a foot–by-line translation of quotations into Russian is everywhere. - U.S., R.K.]); "Kechan poetry" [p. 63] (his sunny poetry); "shizhe sader gai Shrtn poetry" [p. 63] (in his golden poetry, similar to an autumn garden); "Yesenin's poetry is jong gich lekshe muro" [p. 63] (Yesenin's poetry is a song that came out of his heart); "Yesenin is ilyshyn muryzo!" [p. 64] (Yesenin is the singer of life). Oyar concludes the essay with his poem dedicated to Yesenin ("Shrgym shgalten pamash day..." – "Wash your face with spring water..."). The name of the Russian poet is mentioned three times in it. For the first time, the author points to the folk, natural, origins of his personality and poetry.:

Shorgym shogalten pamash on the day,

Lai mardej den tudıştılesh, –

Olyk goch yolgorno den Yesenin

Oshkylesh er kechylan vashesh [p. 64]

(After washing his face with spring water,

A gentle breeze wipes it away, –

Through the meadow along the Yesenin path

He walks towards the morning sun).

In his poem, Oyar focuses on the main theme of the work of the Russian classic (Russia, Rus) and asserts the national significance of his poetry and Yesenin himself as a unique asset of the country that will always be remembered by the people.:

Muro semyn yoҥgysho Russigym,

Zhap vosht oshkyl, stikhshe den mokta [p. 64]

(Sounding like a song, his own Russia,

Walking through time, he praised with his verse).

Within the framework of this concept, the Nra prescribes the word "Yesenin" both the second and third times.:

But Russiain shoshpyksh - Yesenin –

Nimogai yoshtesh ok kert yoshen [p. 64]

(But the nightingale of Russia is Yesenin –

It cannot freeze in any cold).

Zharan yolgorno den Yesenin

Russo muchko joҥgın oshkılesh [p. 64]

(At dawn on the Yesenin path

He walks freely all over Russia).

Boris Pasternak and Yevgeny Yevtushenko are identified by Oyar in the epigraphs to his poems. So, in the poem "Tylat lekman, artist, tylat..." (You need to get out, artist, you...), the beginning of Pasternak's famous poem Hamlet is used as an epigraph: "The hum has subsided. I went out onto the stage...". Oyar's poem repeats the main conflict of Pasternak's text – a lonely gifted poet and his mediocre, soulless, Pharisaic environment. But if Pasternak's text is constructed as a monologue by an artist whose fate is to play the most difficult (dramatic) role in the world repertoire and, like Hamlet, inevitably engage in battle with public hypocrisy and, eventually, becoming a judge of his time, sacrifice himself; then the Mari poet builds his poem as his appeal to a talented ("Kuanlyn-oygyn voshtylat – / Yyrvel kuan chon viy seysh" [p. 76] – "You laugh joyfully-sadly – / The strength of the soul defeated the power around) and immensely human, bright ("...ulat chonan, / Shom volgydan, shinchavdan..." [p. 77] – ...you are cordial, – With The light of the soul, compassionate [lit. tearful. – U.S., R.K.]) to the poet. Oyar writes about his sincere passion for the actor's game ("My hair is scratching, pelen kildaltyn" [p. 76], and at the end of the poem thanks him for teaching him to be a fighter in his difficult (confused – "puppet") life, and thus "paves" an associative link between the fearless Hamlet, the actor who is supposed to play him, and his own image of an actor created by him, whom he calls the white servant of bright beauty ("Yandar motorlykyn osh tarze" [p. 77]). It is with the word "sarze" ("warrior") in the exclamation position that Oyar ends his poem, thus affirming his philosophy of life.:

Kuktezhle ilysh pasushtem

Ere liyash, ketch shket, but – sarze!.. [p. 77]

(In the confused field of life

Always be, even if alone, but a warrior!..).

The negative characterization of the environment of the Pasternak actor and the lyrical hero of Hamlet himself is limited to two phrases ("twilight of the night" and "everything is drowning in pharisaism"), and the drama of life is very succinctly presented ("another drama", "To live life is not to cross the field"). Oyar's similar environment of the actor seems to be more specific in terms of author's reflection, it is associated with such images as the confusion of the world ("tenya kuktezh") and the evil land, which does not appreciate the living and the heartfelt ("...shide mlandylan, / Chonanzhym pesh ok zhaple kudo..." [p. 77] ("...evil a land that has no respect for the living...).

It is the conceptual similarity of the conflict that gives rise to Oyar's allusions to Pasternak's text in the poem "You need to get out, artist, you...", which can also be considered as a device of contextual poetics: "lekman" – "went to the stage"; "tejem kechan tenyam" (a world with thousands of suns) – "With a thousand binoculars on the axis"; "Sandalyk kykshytysh shuat" (Rise to the level of the universe) – "I catch in a distant echo / What will happen in my lifetime"; "peach porgemysh" (into the dense abyss) – "twilight of the night"; "ketch shket" (though lonely) – "I am alone"; "Kuktezhle ilysh pasushtem" (On the confused field of life) – "To live life is not to cross the field".

The epigraph to the poem "Shim aylyshe tat-vlak..." (Moments that disturb the heart...) was Yevgeny Yevtushenko's phrase "White snows are falling..." from his 1965 poem. Yevtushenkov's text is a combination of patriotic pathos and philosophical reflection on death and immortality.:

It's not possible to be immortal,

But my hope is:

if there is Russia,

That means I'll be there ^[6].

Oyar does not connect his poem with these thematic lines, he continues the peripheral semantic line of Yevtushenkov's poem "The white snows are coming...", based on the philosophical idea of natural life and natural beauty, extremely understandable and close, pleasing the soul of the Mari poet ("Shyp velesh da velesh – / Box ok pale molanzhym… / You're just a klesh" [p. 85] – "Quietly falling and falling – / He doesn't know why.… / It's just necessary"):

There are white snows, as at all times, as under Pushkin, Stenka and as after me.

It's snowing heavily, it's already painfully bright, both mine and others', covering their tracks ^[6].

Reminiscence becomes the principle of the composition; the author plays with Yevtushenkov's "White Snows are falling" in a variety of ways:

– ...Lum yoga pesh tamatlin... [p. 85] (…The snow is falling very quietly...);

– Shyp velesh da velesh... [p. 85] (Falls quietly and falls...);

– ...Osh lumlan lachak zhap [p. 85] (…It's time for white snow);

– ...Lum velesh er-kasat [p. 86] (…Snow falls both in the morning and in the afternoon);

– Erkyn lum velmyzhat... [p. 86] (And the slow fall of snow...);

– Osh lum velme poshelne... [p. 86] (Among the falling snow...);

– ...Lum yogen charnymeke... [p. 86] (…As soon as the snow stops falling...);

– ...Lum lumesh da lumesh... [p. 86] (…It's snowing and snowing...).

Of the Mari writers, Yivan Kyrlya is represented in two poems of the Oyar collection, and also in the context of this image in one of them – "Ilet pyrlya, Yivan Kyrlya!" (You live with us, Yivan Kyrlya!) – the author recalls the film character Mustafa created by him. At the beginning of the poem, the key scene from the movie "A Start in Life" is reproduced:

Rail ӱmbach trolley talyn

Chymykta, soltke tava.

Kudalesh, cholga muralyn,

Mari rvese – Mustafa [p. 30]

(A trolley is moving fast along the rails

Flees, flees [lit. stomps. – U.C., R.K.] with a bang.

He rides with a lively song

Mari youth – Mustafa).

The further lyrical narration works on the author's idea stated in the title of the work: the Mari poet and actor, performing a song in his native language ("Oh, lui modesh..."), "drove" on a trolley into modern times and continues to conquer the hearts of his fellow tribesmen:

Shosho gaye yōkshō day

Kyzytat mura Kyrlya [p. 31]

(In a voice like spring,

And today Kyrlya sings).

In another poem, Yivan Kyrlya is presented as part of the first generation of Mari writers, among whom the author Chavain, Shabdar (Shabdar Osyp), Mukhin (Nikolai Mukhin), Kyrlya, Ipai (Olyk Ipai), Yalkain (Janysh Yalkain), Nikon (Nikon Ignatiev), Savi (Vladimir Mukhin-Savi) and for characteristics of which the words "spike" and "spike" are repeatedly used, defined in the explanatory dictionary of the Mari language as slender, pleasant, beautiful, elegant and neat (spike, spike), straight, unbending and firm (spike), slender, clear, firm, firm and unbending (spike), elegant, beautiful, clean, accurate and high-quality (spayin) ^{[7, pp. 277-278]}.

The anthroponym in this poem has a clear socio-historical function. The author expressively presents the tragic fate of this generation of creative intelligentsia and rigidly defines the very essence of the tragedy of the Mari people in the Stalin era.:

Parchashtym mo – en tӱҥ gichak roalych.

Shuҥgalte oto – nelyn, yӧslanen.

Shke kalykshe dech, mlandyzh dechyn nalych,

Kӧ kalykshym da elzhym yeraten [p. 45]

(Not small branches on the tree – they chopped at the very base,

The grove fell, hard, suffering.

They tore them away from their people, their land, Who loved their people and their country).

In the frame part of the poem "Unchyshto payrem" (A holiday in Uncho), Valentin Columbus is called – as the author of the epigraphic lines. The epigraph refers the reader to the first two lines of Columbus's poem "Lyshtash Muro" (Song of Leaves, 1962), which Oyar quotes covertly (according to the principle of reminiscence) at the beginning of his poem, retaining Columbian punctuation marks, but replacing, firstly, one (former) village name with another - popular among the people, considered Mari, secondly, Columbian onomatopoeia (oh-oh-oh) – on its own (vyzh-vyzh-vyzh) with similar semantics (a lot of people gathered on the street), cf.:

Shor-Unzha uremyshte

Kalyk– oh-oh-oh!.. ^{[8, p. 99]}

(On Shor-Unzhi Street

People – oh-oh-oh!.. (V. Columbus)

Uncho yal uremyshte

Kalyk–vyzh-vyzh-vyzh!.. [p. 88]

(On the street of the village of Uncho

People – vyzh-vyzh-vyzh!..) (Gen. Oyar)

The Oyarovsky and Columbovsky texts share not only the place of the depicted action and the semantics of onomatopoeia, but the main thing in both of them is the motif of folk fun. Columbus first admires the girl Marie, who beautifully and soulfully performs a song ("Shmyn tulysh nyzhylgyn / Muro yr yresh" ^{[8, p. 99]} – "Gently into the fire of the soul / The song rain is falling"), imagines this action as "the trembling of leaves on her poppy lips" (note the title of the poem "The Song of Leaves"), then begins to reflect on the role of song in the fate of Mari, as well as on the sincerity and power of Mari folk art and folk soul, symbolized at the end of the poem by the natural, natural "song of leaves".

Oyar continues this artistic strategy and reproduces the picture of the national holiday Ӱarnia (Maslenitsa) with all the elements of folk fun inherent in it: laughter and joy (it is in this context that his friends, poets Yeremy Gerasimov, Vasily Mironov and Valery Apakaev, are kindly mentioned, with Mari variants of their names, and one of them even with a household one nicknamed Apakai): "Koshtyt, shyrgyzh kolyshtyt / Yeremey, Vasli, / Nunin deke kumshylan / Only Apakai" [p. 89] (They walk, listen smiling / Yeremey, Vasli, / Apakai came up to them / The third); treats – pancakes and strong kvass; riding on a troika and from a snow slide, competitions of strong men ("chestnut tree"); there is also a mention of the song as an integral part of folk fun ("Muro chonan ulshylan / Tache tyshte paradise!" [c 89] – "To those with a soul of song, / Paradise is here today!"). The author uses bright strokes to build an ethnocultural context – reproduces the features of the folk festive culture of Mari: the involvement of every house and every villager in the holiday; hospitality and the unification of villages in festive merriment ("You are kadyrle / Yukysh tek ushnat / Mukanai, / Yambatyr ma, / Paymyr, Sap-Unzha..." [p. 89] – "Let Mukanai, Yambatyr, Paimyr, Sap-Unzha join these writhing / Sounds..."); the unity of generations in a festive ceremony ("Voktenemak – kushtylgo, / Chatkata kova, – / Shem myzher da pushkido / Al potan yolva" [p. 89] – "Right next to me is a light, / A neat old woman, – / A black caftan and a soft / Fringe of a scarlet sash"); "Sho ale samyryk – / Chon ikgai tava" [p. 90]) – "Old or young – The heart is pounding the same way"); thanks to the Almighty, natural forces ("Shiy pamashyn Vydyshk / Shiy oxam pyshtem, / Yoshtyzh dene shrgym myy / Eplyn shyaltem" [p. 90] – "I will put a silver coin in the water of a silver spring, / I will wash my face carefully with its cold") .

Festive culture and the philosophy of fun appear as a necessary component of the life of the people, they have a revitalizing force that is the key to their future existence.:

Wooj vel volysh kanylyn

Shaҥgyse kova.

Osh district of Polatyshte

Tatshe – kurymash [p. 90]

(She descended noisily .

A recent old woman.

In the white palace of nature

A moment is an eternity).

Placed in the framework of the anthroponym "V. Columbus" sets the main text of Oyar in a very impressive Columbian semantic context. In Oyar, as in Columbus, the reader clearly sees a deep interest in native folk culture and involvement in the folk spirit of creativity. And in this sense, the anthroponym used in the work has not only an ethnocultural role, but also, reflecting the self-perception of the author, performs an identification function.

We see the same function of the anthroponym in the last poem ("Shom-chon ok shinche kuzhytyn kuzhuzhym..." – "The soul does not know the extent of length...") of the Chukchi Oyar cycle. The dedication to it contains the name and surname of the poet Semyon Nikolaev, whose poems the author unexpectedly discovered in Chukotka, leafing through a book published in Moscow in Russian. In the context of the Chukchi theme, this poem by Oyar, dedicated to the Mari poet, is assessed as the completion of the author's concept of the alien and his own: "the knowledge of the "alien" allowed the author to truly appreciate "his own" ^{[9, p. 124]}.

The main text of the poem "The soul does not know the extent of length ..." is a tribute to the teacher in poetry, an emotional and, to a certain extent, scientific and philosophical reflection of his work. Oyar notes the peculiarities of his mentor's poetic language ("nyzhylgym, cheverym"), the power of his words and the "height" of artistic thought ("... Those who are magnificent shomakysh viyim, / Motkochak ksh onchalyn moshted" [p. 150] – "... You, putting strength into the word, / Are able to look very high"). Russian russians love the fact that Semyon Nikolaev is a truly Mari poet in spirit, which he remains even in Russian translation ("Rukhla gychat yoncha shom-chon mariyn – / Vrsheryse vr semyn koshteda" [p. 150] – "And the soul of a Mari oozes in Russian – / It moves like blood in a pulse"). The image of Semyon Nikolaev, the master of the Mari artistic word (as well as another Mari hero, the popular singer Yivan Smirnov, also mentioned in the author's Chukchi cycle), is an expression of nostalgia for his small homeland, the poet's deep connection with his relatives in a "different", non–Mari environment. By creating such an ethnocultural context of the personality and creativity of his teacher, Oyar clearly and journalistically openly defines his personal ideological strategy.:

My kyzyt rash palem: ketch-kush om kae,

Mogai yilman koklashte my om liy, –

Kodam chonem den yalta tunamse gaye –

Columbyn manmyla, shum-moksh yotke mari! [p. 150]

(I know exactly where I'm going today.,

Among those who speak any language, I would be, –

My soul remains the same as it was then., –

As Columbus would say, Marie is up to the heart-liver!).

The anthroponym "Palantai" (the pseudonym of the first Mari composer, founder of Mari professional music, creator of the first Mari choir Ivan Stepanovich Klyuchnikov, 1886-1926), stated in the poem "Mari Concert" (Mari Concert) has a symbolic function. Oyar interprets him as a symbol of the Mari intelligentsia of the revolutionary era (the Mari "nightingale"), sees in him a kind of "cultural code" of the people, pointing to his social optimism, charming energy, folklore and the true nationality of his music – exactly what another Mari composer Yakov Eshpai saw in his time in Palantai, writing so: "Palantai's music is light and sunny. Optimism is the main feature of his worldview. Faith in the people, in their immortality, is the basis of his music. ... Palantai never broke away from the inexhaustible source of folk art. He wrote sincerely, sincerely, warmly, sometimes jokingly, cheerfully and fervently.... This is how the Mari people sing their songs. Palantai overheard these wonderful voices and managed to convey them in music" ^{[10, p. 47]}. It is in this capacity that the first composer from Mari, Oyar writes, continues to live in a modern creative environment, continues to influence and inspire Mari singers and musicians.:

Kalykyn mursemzhym chongjo vosht koltalyn

Suginla erelan shoshpyk-Palantai [p. 44]

(Passing through the heart of the music of the people,

The nightingale Palantai says goodbye forever).

The context of the Mari creative world is also created with the help of the anthroponym "Yivan Yamberde". Yivan Yamberde is the pseudonym of the contemporary Mari artist Ivan Mikhailovich Yamberdov. The dedication to him is prefixed to Oyar's poem "Siretche" (The Artist). And in the main text of this poem, the author, as in the "Mari Concert", reflects on the peculiarities of Yamberde's creative personality, for example, on his passion for artistic knowledge ("Tarvanen Mari sretche Louvrish..." [p. 111] – "The Mari artist gathered at the Louvre..."; "Logalash shum-chongjo tudym yodyn / Kurymla masterpiece-vlak koklash..." [p. 111] – "His soul was calling him to get in / To eternal masterpieces"), in connection with which the poem recalls the world masterpieces of the Louvre, as well as the world-famous European musicians Saint-Saens, Mozart and Chopin. Accordingly, the Mari artist fits into the context of world art, and the author of the poem demonstrates his cultural horizons by introducing contextual content related to world art into the work.

Oyar also speaks about Yamberde's true "mariness" (...Namiya Mari chonan salamim?" [p. 112] – "Will he bring greetings with the Mari soul?"), about the folk basis of his work ("Mylannazh shiy pamash da oto – / Lach shkenanak Louvre, Hermitage!" [p. 112] – "Us the same silver spring and grove – / Exactly our Louvre, the Hermitage!"), about the spirit of search and a penchant for philosophical generalizations:

With the right kychalesh shkezhat chiyashte,

Шмм ден ден рад рад рад рад рад рад radamlas târsa.

Tudynat ik tatyn – kenetashte –

Kurymlashke pochyltesh charsha [p. 112]

(And he himself is looking for beauty in colors,

He tries to organize it with his heart.

And at one point, suddenly, he –

The curtain will open to eternity).

Folklore and mythological characters mostly act in an intertextual function, but their names not only connect Oyar's works with other texts, but also, reviving archetypal meanings, create the context of world culture.

In the poem "Kalyk muro" (Folk Song) Oyar, the centuries-old collective author of the ancient Mari song, who carried through the centuries its philosophical depth, emotional power and educational potential ("Kavash niltalshe shuldyr–shonymash / Yta shӱmetym esheat chot saiym" [p. 97] - Wings that lift into the sky -thoughts / Make your heart even better"), calls the Mari Orpheus – the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus - the name of the Mari Orpheus- the name of the Mari Orpheus- the name of the Mari Orpheus- the name of the Mari Orpheus- the name of the Mari Orpheus- the name of the Mari Orpheus the hero of the ancient Greek myth Orpheus, the legendary singer, lyricist, poet and philosopher. The archetypal leitmotif of this image is the ability to enchant / captivate all living things, animals and plants, even stones and trees with his music. The Ojar presents it this way:

Orpheus Muren – why evetlyn

Pushkin-vlak yoldenyt, oygyren... [p. 97]

(Orpheus sings – fastidiously after him

The trees wandered, longing...).

The same magic is contained in the Mari folk song.:

My brother, we'll give you your code,

Tymatle muryn kumylzhym visash.

Tunam japshat, shonet, perdes sheogeke,

Chyla ertalshym kozhganet sherash [p. 97]

(I love being alone with myself [lit. with a heart. – U.S., R.K.],

Measure the mood of a modest song.

Then, I think, time turns back.,

Afraid to stir up [letters. comb through. – U.S., R.K.] all the past).

She is immortal, says Oyar, she cleanses the soul.: "...Motkoch yandaryn ilime shuesh!.." [p. 97] (…I really want to live light!..).

The poem "Polar yod Nergen" (About the Polar Night) depicts the main pagan god of the Chukchi, Paliken, who created heaven and earth, the Chukchi tribe, and fire. The anthroponym in Chukchi means a fat-bellied, pot-bellied man. The Pelican is "the keeper of the hearth, devouring human envy, stupidity, worldly troubles and bad thoughts, digesting all this food supplied in abundance by people in his oversized stomach. At the same time, he remains immaculate and pure in thoughts and deeds, radiates laughter, kindness and justice. It brings joy, wealth and good luck" ^[11]. In his poem, Oyar follows the mythological tradition of the Chukchi and portrays Palikan in a domestic situation – unperturbed, calm and contented, despite the unrest around him.:

Puito poluslan turashte

Shogo-shogo Palikan

Shincyltesh shketak torashte,

Yagylge tulgom yygen... [p. 136]

(As if near the pole

Old, old Palican

He sits alone in the distance,

Rubbing the polished flint).

The anthroponym "Akpatyr", taken from the numerous legends about the Mari bogatyr in Oyar's poem "Kugese-vlakyn suginysht den tolyn..." (They came with the precepts of their ancestors ...), is an intertexystem that performs a psychological and identification function, because it reflects the self–perception of the author. Akpatyr is "a hero who protects the people of Mari from the enemy. As with the hero Chumbylat, Akpatyr's family is deified. With kindness and respect, the people of Mari pray to him and his magical power" ^{[12, p. 175. The translation of the quotation into Russian is ours. – U.S., R.K.]}. His name is used by the author as an ethnoidentific factor: Akpatyr is a native Mari name, like the female name Semalche, placed by Oyar next to the name Akpatyr, formed by analogy with other Mari names Pampalche, Yektalche, Oshalche, etc. [see: 13], as well as metaphorical names correlated with the names of natural phenomena in the Mari language (Kava, Wood, Mardezh, Volgenche, Tul) and also located in the text in the same row with the name Akpatyr.

Listing the signs of Mari culture, the poet everywhere emphasizes his deep connection with his people and uses possessive forms of words for this: nouns with possessive suffixes (koyshna, lemna), pronouns "me" (we) and "memnan" (our), 1st person plural verbs (poidaryshna, ulyna). The Mari people are presented to him as a unique and necessary component of the "big world" (universe), enriching it in every possible way.:

Me kurim vosht – Yalta pyl vosht kechiyolla –

Kugu tenyam nenchen poidaryshna [p. 83]

(We've all been like a ray of sunshine through clouds for centuries –

They sculpted and enriched the universe [lit. the big world. – U.S., R.K.]).

Russian Russian poet Ivan Oyar uses the anthroponym "Yivan", the Mari version of the Russian name Ivan, in a work entitled "Yomak da chyn" (A Fairy Tale and the Truth), which is a creative reworking (travesty) of the plot and morality of the Russian folk tale "The Frog Princess".

In the poem "Ik Chashkeryshte" (In one thicket), common names (bird names) are used as proper names to create an allegorical strategy through a system of allegorical images (Shpyk – Nightingale, Korak – Crow, Tumna – Owl, Shemgorak – Rook, Shogerten – Magpie). In this fable-like poem, two parallel scenes are sketched, reminiscent of antinomies from human life: the talented nightingale singing, caressing the quietly slumbering earth, and its stormy discussion (almost like a gathering in the human world) among envious birds, arrogantly and maliciously criticizing the Nightingale, but noticeably losing to him in singing skills.

Conclusion

So, our analysis of the anthroponymicon Oyara in his poetry collection "Echoes of the Heart" allows us to assert that different types of anthroponyms, performing semantic and symbolic, socio-historical and ethnocultural, intertextual, emotional-evaluative and authorial, psychological and identification functions, contribute voluminous contextual content to his texts, respectively, are a full-fledged method of contextual poetics. The anthroponyms used by the poet are a way to reconstruct the contextual content of a literary text, to understand the author's intention, semantics and poetics of his works.

The article is published in the version approved by the reviewers (after receiving a positive review recommending the manuscript for publication) with corrections made by the author (after receiving the editor’s comments, if any).
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