FEATURES OF PERSONALIZATION OF THE MYTHOLOGEM OF MERMAID IN OPERAS «THE DROWNED MAIDEN» BY MYKOLA LYSENKO AND «ON THE WATER NYMPH'S EASTER» BY MYKOLA LEONTOVYCH

Abstract

Archetypes are integral universal of humanity`s art humanity`s culture those structure people`s consciousness on “deep emotional level” and allow to show the in art the most brightly ideas and images. But in the course of history modifying in different nations archetypes keep initial images those are appropriate to ethnic cultures, influencing on the features of folklore, mythology and even national mentality. Ethnic national archetypes are completely embodied in mythology, popular beliefs and popular art, being peculiar intermediate between archetype and art embodiment because their symbols themes and images became a basis for art. In Ukrainian culture as one of the most ancient all processes described above were embodied completely. One of the most common examples of this phenomenon is a mythologem of Mermaid that was embodied in the different art styles. It can be observed in Ukrainian music. Among many samples of this phenomenon two operas are notable: M. Lysenko’s opera “Utoplena” (“Drowned Maiden”) and M. Leontovych’s opera “Na Rusalchyn Velykden” (“On the Water Nymph's Easter”). Despite different plots and forty-years difference of creation time the main features of the mermaid’s image are not only similar but are relevant to primary sourse – popular beliefs (places of their localization, reasons of their transformation, character ambivalence etc.). Even in the presence of such number of common in the images scope, music embodiment of the mythology is different in both operas because both composers represent different generations and it caused divergence in aesthetical minds of the artists. Mermaids in M. Lysenko`s opera “Utoplena” are consonant with the main features of his music style. In most cases mythology showed as a collective image and is embodied using ethnic music system and close connection with folkloric sources that is appropriate composer`s style. Good examples of this are choir episodes (mermaid`s choir (№ 26), dance of mermaids (№ 27), and “Raven game” (№ 28)). After detailed analysis of these episodes was deduced that they are written in the tradition of popular polyphony also third and sixth intervals between voices prevails. It approaches these episodes with ethnic music. A great role in forming an integral image of mythologem orchestra plays. In accordance to plot all events take place in Levko`s dream and there are a lot of instrumental episodes describing typically romantic atmosphere of dreams, deliriums. In most cases it is connected with semantic of polyfunctionality and decentralization of mode («Magic dream», № 25). In the images of M. Leontovych’s opera «Na Rusalchyn Velykden» two main his music features were shown. First is connected with M. Lysenko`s influence: being his follower during process of forming and renewal of art constants M. Leontovych kept an accent on deep national archetypes (using mythologems in an image scope, a big role of song tokens etc.). In contradistinction of M. Lysenko, M. Leontovych used mainly small elementary motives from simple polyphony, lapidary voice moving and rhythm that can be deduced in all opera`s choir episodes where mermaids are shown as a collective image. In choir episodes there are similar means as in folk songs arrangements: sustained bass, unisons are often used, parallel fifths and triads, etc. Second feature is connected with using modern means. In particular it is said about a great role of polyphony that caused overcoming of symmetry of complicated structures and through development, standing out of strict tonality, new interpretation of dissonance and semantic of augmented chords for describing of mysterious, fantastic images and occasions. Based on our analysis of mythology in two Ukrainian operas is deduced: 1) In M. Lysenko’s opera is completely realized formed by him independent national music language that consists in synthesis of western-europenian achievements with national folkloric tradition; 2) in M. Leontovych`s opera mythologem is an organic combination of M. Lysenko`s influence and modernistic trends in his music.