THE FORM AND CONTENT PECULIARITIES OF ARA ARTYAN‘S POEMS

The Gyumri poet A. Artyan (1952-2021) began his creative and publishing activity in the 70s of the 20th century, but his most notable creative achievements were especially in the early years of independence, in the 1990s2000s. Therefore, it is appropriate to make his poetic legacy the subject of literary research within the framework of its relationship with modern literary phenomena. The renewing role of P. Sevak‘s poetry in the 1960s, and then the creative experience of R. Davoyan, H. Grigoryan and others, played a significant role in the formation and development of A. Artyan‘s worldview, aesthetic ideas and literary taste. The profound presence of our famous classics, Av. Isahakyan and H. Shiraz, is visible in his works. If they used some expressions and words from the Gyumri or Leninakan subdialect of the Karin dialect used in the Shirak region, then A. Artyan decided to write complete poems using the main dialect of his hometown. He received wide recognition. Our poet was well-versed in the works of the most prominent writers of the world literature. In his verse works, in addition to poems written in national traditions, he used the ballad genre used by F. Villon (1431/1432 -1463), a prominent representative of French literature. He loved to write sonnets, free verse, and epitaphs. A substantial part of W.Whitman‘s ―Leaves of Grass‖ was translated by him from English, which influenced him. He was tempted by the predilection for creating unusual poetic images from surrealist poetry. He was fascinated by the Arabic-Persian poetry of the East. Eventually, his fascination with poetic forms also led to the use of the tanka and hoku types of Japanese poetry. The above-mentioned multi-form and multi-content works form the basis of the poets collection of selected poems ―Light Rises from the Soil quot‖ (2022). Our article is devoted to the study of several of their form-content features.