PRAYER INVOCATIONS IN THE STRUCTURE OF ANCIENT DRAMA: THE COMMUNICATIVE ASPECT

Abstract

Euripides’ work, his dramatic diptych “Iphigenia in Aulis” and “Iphigenia in Tauris”, in particular, which is based on a well-known mythological plot, continues to be of interest to modern researchers of literature. The question of the structure and semantics of the genre of Euripides’ works, their research in the communicative aspect would make it possible to clarify the phenomenon of the perception of ancient drama in subsequent eras. Let us recall that the difference between Euripides and his predecessors was in the reinterpretation of the myth in his own, different from the generally accepted assessment of divine intervention in human life. That is why, perhaps, in the tragedies considered it is not always possible to find solemn praise songs in honor of the gods (hymns), the origins of which come from an archaic prayer, and which were quite popular in any genre of ancient literature. Nevertheless, theological names and prayer invocations are often found in the works of Euripides. We tried to analyze the main functions of Euripides’ prayer appeals to the gods (invocations) in the communicative aspect. It can be concluded that prayer invocations, which constitute the lyrical component of ancient drama (along with its dramatic and epic component), perform a number of communicative functions, characteristic of a speech act, in different degrees of their use. The texts of prayer songs (as well as lyric poetry, in general) are often spectacular, conditioned by their heightened emotionality. They are dominated by an expressive function that contributes to the creation of a general emotional atmosphere for the author, actor and recipient. Reporting (referential) principles are less expressed in prayer appeals, their role is exclusively informative. The combination of the referencial function with the expressive and phatic function, which is necessary for establishing communicative relations with the viewer (or reader), creates favorable conditions for the reception of the ancient plot. Some rethinking of the artistic and communicative load of prayer invocations can be observed in the dramas of the Ukrainian diaspora (Lesia Ukrainka, Liudmyla Starytska-Cherniakhivska). Mythological theonyms, the appeal to the gods in their texts turn into a mythological symbol, their main function is to mythologize modern events as much as possible. The lyrical component enriches the dramatic form with psychological factors, serves to reveal the internal conflict in the drama, and contributes to the expansion of the reader’s reception.