Volume 61 (2021)

Y. I. Garasim
Dr Hab., Prof., 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.

Key words: ethnoaesthetics, naturocentrism, national expression, dramaextravaganza, 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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