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 Abstract:

The article explores M. Prishvin’s literary ornithology or ornithological vitalism based on the relationship, dynamics, and transformation of the three dominant motifs of his works: birds, life, and poet (artist). Prishvin’s ornithological vitalism stems from his turn “from theory to life,” the concept of universal creativity of life and the fight against evil on the paths of good. The research material includes “1905– 1954 Diaries” and literary works “In the Land of Unfrightened Birds,” 1907; “Bird Cemetery,” 1911; “Cranes’ Homeland,” 1929; “Nature’s Calendar,” 1925–1935; “Facelia,” 1940; “Ship thicket,” 1954. The reconstruction of the bird motif within the framework of Prishvin’s ornithological poetics allows us to reveal and characterize the dynamics of its constants: the poet as a bird on the tree of life, the connection of the birds with the motifs of the sun, light, sunrise, sunset, singing / choir, hunting, swamp, forest, and garden. The article exposes the connection between the main, demiurgic function of the bird motif and its participation in the creativity of life in any of its manifestations: songs to the glory of the Lord, nature’s lullaby, birdcharter or creation of the cosmic solar rhythms life.