ANDRII SODOMORA’S HORACE: TOPOS, TROPOS AND ANTROPOS (BASED ON THE STORY LIKE THE LEAVES OF TREES)

Abstract

The article analyzes the issues and artistic features of Andrii Sodomora's story Like the Leaves of Trees through the lens of intertextuality. The aim of this study is to identify the primary characteristics of the author's interpretive model, specifically regarding the biography of the Roman writer and the context of their era, as an intertext. The research methods used include intertextual, historical, literary, biographical, comparative, and typological approaches. It has been found that a key factor in Andrii Sodomora's interpretive model is the hybrid form of the novel.This form synthesizes elements from essays, fictional biographical prose, and literary studies to create an intimate «living»» portrayal of Horace and his time. The central intertext of the novel is the «text of Horace», which is revealed in several ways: through the facts of the artist's biography that form the storyline of the novel and in the hero's retrospectives; in Horace's works, as seen in the epigraphs at the start of each chapter, quotations woven into the narrative, allusions to the Roman poet's satires, and non-plot elements derived from his works; and in the main character's reflections on life, good and evil, and creativity, which echo the ideological content of Horace's writings.The incorporation of broad historical references – such as civil wars, the formation of the imperial regime, and events from the history of Ancient Greece and Rome – as well as cultural elements – like facts and quotations from Ancient Greek and Roman literature, references to philosophers and their ideas, and the history behind ancient artworks – enables the conclusion that Andrii Sodomora's work evolves from being merely a narrative about a writer into a story about a historical and cultural era. This transformation includes reflections on the artist and art, time, memory, and the role of culture in shaping different types of identity.Consequently, the author's image of Horace is structured through both «concrete» and «symbolic» portraits. The concrete portraits outline various aspects of Roman antiquity as the context for the writer's life, while the symbolic portrayals use scenes and imagery, atmosphere, and mood to depict Horace as a significant figure – a destined artist who creates in a world of «changing milestones», navigating between the «temporary» and the «eternal», while embodying «Horatian wisdom» and tradition.Thus, in the novel Like the Leaves of Trees, the author’s interpretation of the biographical prose genre is elaborated through three dimensions: topos (the place – Rome and, more broadly, the Roman Empire, encompassing facts, nature, and mythology), tropos (the ideas of the era), and anthropos (the individuals of the era and their emotional portraits). This is reflected in the titles of the chapters, as well as in philosophical explorations of humanity’s relationship with fate, time, and art. Intertextual references to the lives of famous personalities come together to shape the human «face» of the era, creating a vivid representation of «living antiquity».