Особливості однойменних новел Василя Стефаника

Abstract

The article deals with the peculiarities of the eponymous short stories («Angel», «Sin») by Vasyl Stefanyk. It examines the specifics of the textual organization of works. The paper explores the basic image-symbol. Their semantics are often associated with biblical, mythological, and folkloric aspects. The author introduces psychological details that emphasize the state of the protagonist. He emphasizes the sensual component. This feminine dominant regulates the pace of the story and expresses the stream of consciousness as a confessional monologue. Vasyl Stefanyk's novels of the same name distinguish the connection on the formal and content levels. All the analyzed works are united by the feminine dominant (central images, intimate narration, the sensual component determines the conventional chronotope and determines the tempo of the presentation, the stream of consciousness, the priority of being), the multilevel of the issues raised, among which the main one is self-awareness of the interaction and interdependence of emotions, thoughts, word and deed. The author uses psychological details to emphasize the state of the protagonist, to involve the recipient in the mystery of the confession. Artistic texts with the name "Sin" are a kind of dilogy of contrast because it is about the actions and consequences associated with the transgression of social morality or ethical norms. Responsibility for what has been done is the basis for long-term self-reflection, which leads to different conclusions. Causing damage to the community becomes an irreparable crime, and death becomes penance-salvation. On the contrary, the birth of a child enables penance-purification in a preserved life and decent upbringing. Hence, the concept of "sin" acquires a polysemantic meaning, taking into account the subjective interpretation of the main character by the reader. The works with the common name "Angel" contain many self-allusions, connected by a central iconic symbol and its meaning for the protagonist. The materialized heavenly messenger acts as a guardian and interlocutor, able to hear, feel, understand and respond to any, even silent, call of the soul. Despite the common name, the works reveal unique stories with individualized characters, primarily central images. Probably, this is a creative finding of a brilliant prose writer, a master of the small epic form, who in this way not only knows how to intrigue the reader, raising provocative topics primarily related to internal conflict but also encourages the recipient to an original research game, inspiring him to study carefully common and distinct components of the formal and content levels. Hence, the choice of the same names is probably not accidental, reassuring the recipient to compare the novels and understand the multidimensionality of the symbolic names.