Volume 61-2 (2021)

Y. I. Garasim
Lviv National Universitynamed after Ivan Franko, Lviv


The article analyzes the ethical and aesthetic sources and artistic specifics of the
“Forest Song” through the prism of the national identity of the Ukrainian mentality.
It is traced how as a result of artistic combination of “female” (R. Kirchiv) genre of
Polissya “forest” song with folk tales about characters of poetic mythological world
a syncretic model of Lesya Ukrainka’s dramatic work was created. and the intense
dynamism of folk drama.
It is noted that the author gave compositional harmony and ideological and ethical
perfection to the chaos of mythological fragments assimilated since childhood, while
preserving the ethno-aesthetic foundations of artistic modeling of reality. Emphasis is
placed on the ethno-aesthetic intolerance of the ugly in Ukrainians, which thus became
one of the reasons for the creation of a pervasive image of the drama extravaganza, its
peculiar ideology – beauty. It is under the artistic influence of this ideological
abstraction that the demonological images-characters of Perelesnyk, Kuts, Poterchat,
Poverty, and Marishcha are aestheticized.
An important artistic feature of the ethno-aesthetic genesis of the researched
literary masterpiece of the poet is its pervasive cyclicity, roundness, crownlikeness, anti-extremity, which is manifested at the levels of genre, composition,
image structure.
Keywords: ethnoaesthetics, naturocentrism, national expression, drama-extravaganza,
cyclicity, space-time, mythologism, artistic modeling of reality.

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DOI: https://doi.org/10.17721/2520-6346.2(61).28-36


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