ORIGINALITY ARTISTIC PORTRAIT IN I. FRANKO’S PROSE 1890s
Journal Title: Проблеми сучасного літературознавства - Year 2017, Vol 0, Issue 24
Abstract
Artistic portrait becomes particularly important in a realistic literature of the nineteenth century. The problem of the evolution of the artistic portrait in the literature has been devoted a lot of thorough the researches, including works A. Beletsky, M. Gabel, V. Faschenko, B. Galanov. Analyzing the prose of the nineteenth century, it is evident that instead of portrait painting that dominated in the romantic literature, comes the psychological portrait; that is the portrait, which not only transmits appearance of characters, but also their character and state of mind. In our study, we set out to examine the evolution of artistic creativity in the portrait of Ivan Franko. The subject of analysis in this article is the features of portraits in Ivan Franko’s prose works of 90s: "For the Home Hearth", "The Foundations of Society", "Crossed Paths". In the story "For the Home Hearth", written in 1892, Franko takes portraits of the main actors on the front pages. The background for them is the interior of the house, which supplements psychological characteristics of the heroine - Anneli Anharovych. The author represents the appearance of the heroine, emphasizing her charm and beauty. At first glance it seems that she is a happy wife and mother, which is well equipped and has no problems. But after Franco shows how under the influence of the circumstances the appearance of the main character changes dramatically. Franko often takes the appearance of the main characters through the perception of other characters. This way of the image we see in the novel "The Foundations of Society". The manner of the portrait in the novel "The Foundations of Society" like Balzac's creative method. This is not surprising, because they put a single task - to show the harmful effects of money. Like Balzac, Franko often uses portrait painting. In the next novel "Crossed Paths", published in 1900, Franko departs from the narrative style of portrait. The appearance of the characters in this work is submitted by individual strokes, that’s why Franko as Leo Tolstoy, uses the portrait of leitmotif. So in the portrait of Regina, the author focuses only on her eyes that in the first meeting fascinating Eugenia. Regina’s image is an image of the femme woman, which dominates in Franko’s works, so in her portrait author uses the comparison of Medusa the Gorgon, who killed by her gaze. So, we can conclude that in the poetics of character the writer has undergone some evolution - from the detailed descriptive portrait to the impressionistic, laconic and emotionally heightened portrait.
Authors and Affiliations
Tatyana Goranskaya
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By the Ways of Scientific Research (Odesa, 4–5 October of 2018)
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