clarity of ideas and ethical-spiritual positions of the author and actors, in general by
high spiritual potential. Now almost every hero is a morally and spiritually mature
personality, because in their intentions, behavior and actions they are based not only
on their own considerations of good and evil, charity, but at the same time they are
indicators of national («Between two forces»), («Song of Israel (Kol-Nidra)») and
general («Prophet») views on the content of these categories. In the writings of this
period, the playwright no longer divides the actors of the highly spiritual and anti-
spiritual ones, but tries to reveal the inner (soulful) and external (spiritual) orientation
of their selfish or altruistic struggle and activity in society. Thus, in the plays from 1918
to 1919 («Panna Mara», «Between Two Forces», «Sin») are shown a conscious appeal
to the values, which have been made by humanity for thousands of years, which were
and are not only in peacetime, but also in the most difficult and bright situations and
events: the heroine of the first work «tests» herself and her actions on the experience
of older generations; eventually, the non-belonging of actors to the class of the second
play does not prevent them from rising above classes and nations; the heroine of the
third play also comes to the idea that you cannot solve a case by bodily betrayal («sin»)
and this cannot help anyone personally – for higher values (for goodness) one should
fight honestly. The highest level of comprehension of one's own spiritual position by
the character is achieved in the process of self-and psychoanalysis.
Dialogue is the main
artistic form of finding out the concepts of good and evil, through the dialogue most of
characters discuss, debate and prove that they are good or evil and display their own
ethical and spiritual positions. V. Vynnychenko in these three plays, despite the social
instability and non-ruthlessness of the events during the years of 1917-1919 (the
Bolshevik revolution, the struggle of Ukraine for independence, etc.), concludes: the
society is still at such a stage when the value of a person is determined by the possibility
of subordinating of interests to the selfish demands of imperious natures («Between
two forces», «Sin»). And all this more visibly stimulates a person to rise above present-
day ideas, not to stand «on the other side of good and evil», but to realize that the
interests of the family, the generation, and the nation – are the highest universal values.
Only this will give the protagonists the opportunity to overcome both personal and
social selfishness. That is, the playwright from the work to the work is convinced of
the need to follow the universal principles of morality and the interpretation of the
content of the categories «good» and «evil». In the plays from 1922 to 1930s, women,
having fallen under the influence of the pathos of universal (revolutionary)
transformations, begin to perform amazing experiments on the ethical-family plan,
requiring sacrifice from their husbands: Nata Konchynska («The Song of Israel (Kol
Nidre)») forces Aron to fight for a man at all costs; Inna Mustachenko («The Law»)
asks her husband to betray her in order to have a child. Nadiya («Nad») pushes her
beloved Ilko away, in case to deprive him of slavish dependence on her. However,
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