Українська хорова пісня в художній прозі Івана Франка

Abstract

У статті представлено український хоровий спів в художній інтерпретації письменника – в уривках його прози. Звернено увагу на притаманне образне мислення І. Франка: національна органічність цих співочих виявів (спонтанних або традиційних) виступає у різноманітних життєвих ситуаціях, історичних і соціокультурних обставинах.

В статье представлено украинское хоровое пение в художественной интерпретации писателя – в отрывках его прозы. Подчеркивается характерная черта для образного мышления И. Франко: национальная органичность этих певческих проявлений (спонтанных или традиционных) выступает в разнообразных жизненных ситуациях, исторических и социокультурных обстоятельствах.

In the article the Ukrainian choral singing is presented, in artistic interpretation of the writer – in the fragments of his prose. The inherent to the vivid thinking of І. Franko is underlined the national organic of these singing displays (spontaneous or traditional) in the various of vital situations, historical and socio-cultural circumstances. The Ukrainian choral singing «is heard» on the pages of stories, narratives and dramas of І. Franko from the mouths of characters from different social stratums and age-related groups. He can be character by numerous inspirations. These songs are of high school students in the story of «Petriyi» and «Dovboschuky», that at one time were sung by an author, during the studying in the Drohobych gymnasium. These are the entertaining singing of young people from the sacred families or workers in the time of leisure. In relation to the working authentic »songs» of other maintenance – angrily-satiric in the story «Borislav laughs» – model is a parallel comprehension of their genesis and features in scientific story about ethnography of the Ukrainian people. In a historical story «Zakhar Berkut» separate moments are recreated from life of heathen society, that accompanied by the miliary and ritual singing of the feast. I. Franko did not go round of the traditional church singing in stories «Borislav laughs», «Bases of public», in the narration «Ripnyk» and other works. In drama «Teacher» children begin the open examination to parents by a song, that is original treatment by I. Franko of Lysenko anthem «Goodness large, only» for junior schoolchildren. All these fragments are represented by an author true, with sense and understanding of cathartic possibilities of religious music. With the not less respecting І. Franko described the separate types of the national ceremonialchoral singing in a story «Large noise». In detail, for certain and at the same time the «scenario» of wedding celebrations is artistically convincingly represented with singing of participants of the family ceremonial acting (matchmakers, friends and guests) on withstand most ancient customs. In the same work it is mentioned about the «merry carol singing» of winter calendar-ceremonial cycle. It costs to add, that the adopted types of the ceremonial singing became the articles of scientific researches of Franko-scientist also. Considerable attention was devoted by І. Franko-writer to the herd singing during labour. These labour songs that are appeared in his texts mainly as merry and cheerful (fairy-tale «Without labour», story of «Lesyshyna servants »). Only in drama «Stolen happiness» sounds sad song of girls during spinning, as a pre-announcer of tragedy in the finale of the composition. Ivan Franko in his prosaic works showed the own attitude toward the choral singing and his interpretation, as an inalienable component of Ukrainian life purport space and age. The choral song is provided with a writer by the wide spectrum of action, influence, various setting: from social and political – to entertaining, from a student’s – to labour, from the ritual to folk-ceremonial (mithopoetic) and liturgical. But everywhere it remains perceptibly-ontological express of the soul of people – his psychological and mental signs, ethic-moral principles and originally-cultural face.