«ЖЕНЩИНА ЧИ ЗВІР»: ЛЮБОВНЕ ПОСЛАННЯ ІВАНА ФРАНКА «ДО Ц[ЕЛІНИ] Ж[УРОВСЬКОЇ]»
Детально розглянуто неопубліковане за життя любовне послання І. Франка до польки, ім’я якої зашифровано в ініціальному заголовку, – Ц. Журовської (в заміжжі – Зіґмунтовської). Звернено увагу на психобіографічний контекст, історію їхніх взаємин, зокрема й листування, розглянуто інші поезії, що з’явилися під впливом почуттів І. Франка до цієї жінки, згадано й жіночі образи у прозових творах, прототипом яких стала Ц. Журовська. Висловлено припущення про ймовірні причини, які могли спонукати поета писати вірш польською. Наголошено, що предметом поетичної рефлексії є не сама адресатка, а осмислені почуття поета, адже основна увага ліричного суб’єкта сконцентрована на любовних переживаннях та екзистенційному вияві авторської свідомості.
Увагу звернено на поетичну мову й версифікаційні особливості послання (віршовий розмір, ритмомелодика).
An analysis of Ivan Frankoʼs unpublished epistolary poem addressed to a Polish woman, whose name is encrypted in the initial title – «To С[elina] Zh[urovska]» (in marriage – Zygmuntowska), is presented in this article. The analysis focuses on the psychobiographical context and the history of their relationship, including their correspondence. Furthermore, other poems by Franko, inspired by his feelings for this woman, are considered, as well as female characters in his prose works who are modeled after C. Zhurovska.
The article explores possible reasons that might have motivated the poet to write the poem in Polish. It is emphasized that the subject of poetic reflection is not the addressee herself, but rather the poetʼs profound feelings, as the lyrical subject's primary focus is on the emotional experiences of love and the existential expression of the authorʼs consciousness. The poem is analyzed in terms of genre, narration, plot-compositional organization, poetics, and iconosphere. Specifically, attention is drawn to two central thematic threads, articulated through poetic analogies. One of these threads develops around the image of the spider and the motif of weaving, which the poet associates with the creative process. The spider is identified as a key image, and the weaving motif, possessing mythological significance, is interpreted within the context of Indian culture (Buddhist motifs), a subject of Frankoʼs lifelong interest. Additionally, the second key and polysemous image in the poem is the pearl, which is associated with cold female beauty, the addresseeʼs indifference, and the love that grows within the poet's pained soul – the shell. It also symbolizes the hard-won product of poetic creation. It is demonstrated that these central poetic concepts (the spider and the shell with the pearl) are semantically interconnected, and this connection is manifested at the mythological and cultural levels. Finally, attention is given to the poemʼs poetic language and versification features, including verse meter, rhythm, and melody.
lyrics, epistle, symbolic image, spider, pearl, shell, Buddhist motifs, lyrical subject, addressee, plot, composition.