PORTRAIT IN THE NOVELS “THE PICTURE OF DORIAN GRAY ” BY O. WILDE AND “SHESTYDNEV, OR THE CROWN OF THE HOUSE OF THE OSTROGSKI FAMILY” BY P. KRALIUK (TO THE ISSUE OF DUALITY)

Abstract

The article makes an attempt to compare the role of a portrait in the art world of novels of representatives of English (Oscar Wilde) and Ukrainian (Petro Kraliuk) cultures. In order to arrange the historical and literary material the time limits of creative work of writers, their belonging to the art movements and the degree of recognition were established. The names of literary scholars, who have recently analyzed the less studied novel “Shestydnev” are given.

Purpose: the purpose of research – to trace coincidences and distinctions in creation of situations and characters of heroes and value and influence of their portraits. In order to achieve this goal, the comparative-typological method of study is applied mainly.

The ground for the analysis of the two novels was the observation of their belonging to a psychological kind that revealed in the problem of split personality. The review of literary works on the issue of duality in the literature confirmed the importance of using a portrait as an artistic technique.

Results. Аs a result of the comparison of situations, in which the behavior of the main characters is revealed, the general and the distinct in the character creating of Dorian Gray and Wasyl Konstanty Ostrogski was found out. Thus, the age differences of the main characters were established, which determined the manner of changes in their images in the paintings. Already painted portrait of Gray is distorted with each of his new sin, while the reader learns about the changes in the image of Ostrogski from the artist during his creation throughout the novel.

The common thing about the novels is that the portraits of the heroes become the main accusers of their evil deeds, they become their mirror, which reflected their “Other”. This duality is recognized and condemned by the creators of portraits, so it is natural to consider the continuity of the three characters: the main hero – the artist – the portrait. It is proved that the components of the triad express the problem of duality in different ways.

The symbolism of colors on the portraits is also noted. Both writers explain the appearance of one or another color in the heroes’ portraits, indicating a close connection with painting in this way.

Conclusions. Thus, the typological study of the problem of spirited portrait in the works of different literatures showed not a freeze, but further development of this phenomenon in the art of the twenty first century.