Архетип Любви в духовной визии Леси Украинки и его музыкальный дискурс

Abstract

The discourse of the Ukrainian musical culture is contains numerous appeals to the poetic legacy by Lesya Ukrainka. Therefore, understanding the musical-theatrical, choral, chamber-vocal works by M. Lysenko, K. Stetsenko, Y. Stepovy, S. Lyudkevych, M. Skorulsky, S. Turkevych-Lukiyanovych, V. Kyreiko, I. Shamo, Y. Stankovych, L. Dychko, O. Kozarenko, V. Tymozhinsky and other composers who entered into a musical and poetic dialogue with the poetess, is provides an understanding the key positions of the poet’s philosophy. In our opinion, a new spiritual vision was born in the Lesya Ukrainka’s creative matrix, which embodied the Ukrainian mental Ego in the female image of a spiritual knight and presented it as a weighty component of world culture. More than a hundred years ago, the poet showed a woman’s personality as a com-creator, which has a divine beginning, and therefore we interpret its philosophy in the vein of Femin-personalism (the term is proposed). The three Love types which were shown in Lesya Ukrainka’s works and in her musical discourse are as follows: Ancient Greek „agapeˮ (in variants Love-Spirit, Love-Soul, Love-Eros), Love as a component of national Ego-concept, Love as an immortal divine spirit. The musical discourse expects the interpretation of the drama „Obsessedˮ and others from the „Blue Roseˮ to „Cassandraˮ, „In the Catacombsˮ, „Rufin and Priscillaˮ and others.