FEMALE IMAGES IN THE DRAMATIC POEM “BOYARYNYA” BY LESIA UKRAINKA
The article gives an analysis of female images of the poem “Boyarynya” by L. Ukrainka. Lesya Ukrainka became one of the first writers who presented the images of a “new woman” in the national literature. In contrast to traditional images, the status of a modern heroine is determined by her education, profession, political belief and belonging to certain social structures. Important features of Oksana Perebiyna’s image characterization are her education, self-confidence, straightforwardness, dignity, intolerance to any manifestations of contempt. In the drama, the heroine goes through three stages of her apostasy, which transform a Ukrainian girl into a Moscow boyarynya: the first stage is her refusal of Ukrainian clothes, the second stage is her acceptance of Moscow customs and the third one is her refusal to communicate with her family and friends. The writer in her work demonstrates three stages of assimilation on the example of three female characters: the first stage is external (Oksana wore a Moscow sundress, follows customs but it remains alien to her, and she feels Ukrainian, cares about the fate of Ukraine), the second stage is partial, internal (Stepan’s mother character), the third stage is complete assimilation (Hanna’s character). Stepan’s mother only looked like a Ukrainian, because she follows Moscovy customs in everything. She raised her children according to the traditions of a foreign country and teaches her daughter-in-law that way. Hanna’s character shows the primitiveness, the futility of the young girls’ lives in Muscovy. Ukrainians took into account the principle of national endogamy during their marriage. Mental differences prevent the harmonious development of relationships. The absence of children in Oksana and Stepan’s marriage is an artistic detail that indicates the doom of their relationship. L. Ukrainka’s drama “Boyarynya” presents the image of a new modern heroine. The article traces three stages of transformation of Oksana’s image into a boyarinya and three stages of the assimilation of women in another culture are determined The tragic ending of the poem confirms the widespread principle of national endogamy in Ukrainian literature.
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