Стаття присвячена дослідженню специфіки трансформації, художньої адаптації та «осучаснення» шумеро-вавилонського міфу про сходження богині Іштар до підземного царства у поемі Івана Франка «Істар». Доведено, що авторська рецепція міфологічного матеріалу в національну літературу реалізувалася як органічне поєднання елементів українського фольклору, романтичної естетики з поетологічними особливостями епосу Дворіччя.
The article is devoted to Ivan Franko’s translation strategies. I. Franko’s orientalistics needs to be researched deeper till nowadays. The main attention of scientists who learn his life and art was focused on studying the reception of ancient, biblical, Jewish, Arabic, Indian mythology in the artistic editorial of writer. In the scientific literature, there are no special explores of the plot-transformed Akkadian myths in his art work.
The purpose of the article is to carry out a comparative analysis of the Sumerian and Akkadian versions of the myth about the ascension of the goddess Ishtar to the underground kingdom and the I. Franko’s «poems of Istar», to identify the originality of the author in approaching the cultivation of the mythological plot and to investigate the originality of the poetic adaptation of the Sumerian-Babylonian epic to the Ukrainian art of the word in the end of 19 and beginning of 20 century.
The article proposes a new reading of I. Franko’s work in terms of the author’s concept of the meaning of art and it is proved that the poem «Istar» is a recipe of the famous arcade myth about the ascension of Goddess Ishtar to the underground kingdom. Using the well-known plot of the arcade myth, I. Franko, in fact, created a new version of Ishtar’s ascension to the country without retrogression, since he presented his own interpretation of this ascension, filled the lost parts of the myth with the idea, changed the form of the work, that’s why the final of the poem has a different essence than in the authentic work. The artist filled a plot with romantic charm, extraordinary sensuality, lyricism, poetry, using national folk instruments, which made the ancient plot more accessible to the Ukrainian reader. In the same time, the leading pathos of the work of I. Franko has a vitalistic character. Author’s appeal to ancient Oriental art expanded the artistic possibilities of the national literature and culture, fitting it into the European context of the world.
