Volodymyr Vynnychenko’s philosophical and aesthetic views: the experience of French existentialism

Ðàçìåùåíî íà http://allbest.ru

Volodymyr Vynnychenko's philosophical and aesthetic views: the experience of French existentialism

Galyna Syvachenko Galyna Syvachenko Doctor of Philological Sciences, Full Professor, head of the Department of comparative studies Shevchenko Institute of Literature, The National Academy of Science of Ukraine (Kyiv), Antonina Anistratenko Antonina Anistratenko Doctor of Science in Philology, Full Professor, Social Sciences and Ukrainian Studies Department, Bukovinian State Medical University (Chernivtsi)

Àíîòàö³ÿ

Ô³ëîñîôñüê³ òà åñòåòè÷í³ ïîãëÿäè Âîëîäèìèðà Âèííè÷åíêà: äîñâ³ä ôðàíöóçüêîãî åêçèñòåíö³àë³çìó

Ïîæâàâëåííÿ ³íòåðåñó ñó÷àñíîãî ë³òåðàòóðîçíàâñòâà äî ïîñòàò³ Â. Âèííè÷åíêà, âèçíà÷åííÿ ì³ñöÿ éîãî òâîð÷îñò³ ó êîíòåêñò³ ºâðîïåéñüêîãî ìîäåðí³çìó, íåîäíîçíà÷í³ñòü îö³íîê öüîãî ÿâèùà ó êîíòåêñò³ óêðà¿íñüêîãî êðàñíîãî ïèñüìåíñòâà äåòåðì³íóþòü àêòóàëüí³ñòü çàïðîïîíîâàíî¿ ðîçâ³äêè.

Ó ñòàòò³ ðîçãëÿíóòî òâîð÷³ñòü Âîëîäèìèðà Âèííè÷åíêà ó äèñêóðñ³ ôðàíöóçüêîãî åêçèñòåíö³àë³çìó. Óâàãà çîñåðåäæåíà íà îêðåñëåíí³ ñâ³òîãëÿäíèõ òà åñòåòè÷íèõ ïîãëÿä³â Æ.-Ï. Ñàðòðà, À. Êàìþ òà Â. Âèííè÷åíêà, ¿õíüî¿ ïîä³áíîñò³ òà â³äì³ííîñò³. Ïðîñòåæåíî òàêîæ âèòîêè åêçèñòåíö³àë³ñòñüêîãî ìåòîäó â òâîð÷îñò³ óêðà¿íñüêîãî ïèñüìåííèêà-åì³ãðàíòà, éîãî âïèñóâàííÿ â äèñêóðñ ôðàíöóçüêîãî àòå¿ñòè÷íîãî åêçèñòåíö³àë³çìó, ï³äâîäÿòüñÿ äåÿê³ ï³äñóìêè «ìóæåíñüêîãî» öèêëó òâîð³â ³ íàì³÷àþòüñÿ ïåðñïåêòèâè éîãî âèâ÷åííÿ â øèðîêîìó ºâðîïåéñüêîìó êîíòåêñò³.

Àâòîð ðîçãëÿäຠôîðìè ³ ìåòîäè åñòåòè÷íîãî çàëîìëåííÿ îñíîâíèõ êîíöåïò³â åêçèñòåíö³àë³çìó (àáñóðä, áóíò, ñâîáîäà, âèá³ð, âçàºìèíè íà ð³âí³ «ß-²íøèé»).

Ìåòà ðîáîòè òà ïðîäèêòîâàí³ íåþ çàâäàííÿ äîñë³äèòè ô³ëîñîôñüêî-åñòåòè÷í³ ïîãëÿäè Âèííè÷åíêà â êîíòåêñò³ ³äåé ôðàíöóçüêîãî åêçèñòåíö³àë³çìó, à òàêîæ ðîçêðèòè îñíîâí³ ô³ëîñîôñüê³ ³äå¿ ðîìàí³â óêðà¿íñüêîãî ïèñüìåííèêà, ñóãîëîñí³ òâîð÷èì íàñòàíîâàì Æ.-Ï. Ñàðòðà ³ À. Êàìþ. Ïîñòàâëåíà ìåòà âèçíà÷ຠíåîáõ³äí³ñòü âèêîðèñòàííÿ ãåðìåíåâòè÷íîãî, ³ñòîðèêî-ë³òåðàòóðíîãî, ïîð³âíÿëüíî-òèïîëîã³÷íîãî, á³îãðàô³÷íîãî ìåòîä³â äîñë³äæåííÿ.

Ïðîáëåìà âèçíà÷åííÿ ì³ñöÿ ³äåîëî㳿 â êîíòåêñò³ ôðàíöóçüêîãî åêçèñòåíö³àë³çìó òà «ìóæåíñüêîãî» öèêëó Âèííè÷åíêà ÷àñòêîâî ï³äí³ìàëàñÿ â ë³òåðàòóðîçíàâñòâ³ ùå â 70-õ ðð. ìèíóëîãî ñòîë³òòÿ, çîêðåìà ä³àñïîðíèìè äîñë³äíèêàìè Ñ. Íàóìîâè÷ ³ Ë. Çàëåñüêîþ-Îíèøêåâè÷, ÿê³ íàìàãàëèñÿ ïîêàçàòè ïð³îðèòåòí³ñòü òâîð÷îñò³ Âèííè÷åíêà ïîð³âíÿíî ç Ñàðòðîì ³ Êàìþ. Ïðîáëåìà æ åêçèñòåíö³àë³çìó ÿê ô³ëîñîôñüêîãî íàïðÿìó ðîçãëÿäàëàñÿ ùå íàïðèê³íö³ 1940-õ ðð. ó êîë³ ÷ëåí³â ÌÓÐó ç íàìàãàííÿì ñôîðìóëþâàòè ïîíÿòòÿ «óêðà¿íñüêèé åêçèñòåíö³àë³çì», äî ÿêîãî óêðà¿íñüêà äîñë³äíèöÿ ß. Êîòåöü óæå ÷åðåç 70 ðîê³â ó ñòàòò³ «Ôîðìóëà óêðà¿íñüêîãî åêçèñòåíö³àë³çìó» (2021) çàðàõîâóº, êð³ì ïðåäñòàâíèê³â ä³àñïîðè, Þ. Êîñà÷à, Â. Äîìîíòîâè÷à, Ò. Îñüìà÷êó, ². Áàãðÿíîãî (âñ³õ, êð³ì Âèííè÷åíêà), à òàêîæ íèçêó ðàäÿíñüêèõ ïèñüìåííèê³â Â. ϳäìîãèëüíîãî, Ì. Õâèëüîâîãî, Â. Ñèìîíåíêà, Â. Øåâ÷óêà, â òâîð÷îñò³ ÿêèõ, çâè÷àéíî, ïðèñóòí³ åëåìåíòè åêçèñòåíö³àëüíîãî òëóìà÷åííÿ ëþäñüêîãî æèòòÿ, àëå íàçèâàòè ¿õ ñâ³äîìèìè ïèñüìåííèêàìè-åêçèñòåíö³àë³ñòàìè íå ìîæíà.

Ñåðåä ñó÷àñíèõ óêðà¿íñüêèõ ïðàöü, âàðòèõ óâàãè â ïëàí³ àíàë³çîâàíî¿ òåìè, ñë³ä íàçâàòè «Åêçèñòåíö³àë³ñòñüêà ô³ëîñîô³ÿ. Òðàäèö³¿ ³ ïåðñïåêòèâè» Ñ. Ðàéäè (2009), à òàêîæ êîìïàðàòèâ³ñòñüêå äîñë³äæåííÿ «Óêðà¿íñüêà âåðñ³ÿ õóäîæíüîãî åêçèñòåíö³àë³çìó: Á.². Àíòîíè÷, Â. Ñâ³äç³íñüêèé, Ò. Îñüìà÷êà â ºâðîïåéñüêîìó êîíòåêñò³» (2020) Ã. Òîêìàí, äå ââîäèòüñÿ ïîíÿòòÿ «õóäîæí³é åêçèñòåíö³àë³çì».

Êðèòè÷íà îïòèêà äîñë³äæåííÿ äຠìîæëèâ³ñòü ïîºäíàòè ³ñòîðèêî-ô³ëîñîôñüêó ñïåöèô³êó äîáè ì³æâîºííîãî äâàäöÿòèë³òòÿ ³ ïîâîºííîãî ïåð³îäó, íà ÿê³é ïîáóäîâàí³ òâîðè Âèííè÷åíêà, Ñàðòðà ³ Êàìþ, ïîêàçàòè ñàìîáóòí³ñòü ô³ëîñîôñüêèõ òà åñòåòè÷íèõ ïîãëÿä³â Âèííè÷åíêà-åì³ãðàíòà â ïàðàäèãì³ ôðàíöóçüêîãî åêçèñòåíö³àë³çìó, ïðîäåìîíñòðóâàòè ïîä³áí³ñòü óêðà¿íñüêîãî òèïó ô³ëîñîôóâàííÿ (â³ä Ñêîâîðîäè, Ôðàíêà, Ëåñ³ Óêðà¿íêè äî Âèííè÷åíêà), ïðîàíàë³çóâàòè âëàñòèâó éîìó îð³ºíòàö³þ íà ëþäèíó, ÿêà ñòî¿òü ïåðåä îäâ³÷íèìè ïðîáëåìàìè æèòòÿ, ñìåðò³, çëà. Òàêå íå íàóêîâå ô³ëîñîôóâàííÿ ïîðîäèëî îñîáëèâ³ æàíðîâ³ ôîðìè: åñåé, àôîðèçì, ïîðòðåò, ä³àëîã, äðàìó, ðîìàí, ÿê³ ìîæíà â³äíàéòè â òâîð÷îñò³ Â. Âèííè÷åíêà. Âèííè÷åíêî íàëåæèòü äî òèõ ìèñëèòåë³â, ÿê³ â ñâî¿õ ïðàöÿõ âèéøëè çà ìåæ³ òðàäèö³éíî¿ ô³ëîñîô³¿, àáè îñìèñëèòè øèðøèé çì³ñò óñ³º¿ äóõîâíî¿ êóëüòóðè, ðîçâèâàþ÷è ³äå¿ À. Øîïåíãàóåðà, Ô. ͳöøå, À. Áåðãñîíà, òåîñîôñüêó òåîð³þ Ð. Øòåéíåðà, ñòàâëÿ÷è ñîá³ çà ìåòó â³äêðèòè ëþäèí³ ïåðñïåêòèâè ïîäàëüøîãî ðîçâèòêó, íàäàòè ¿¿ ³ñíóâàííþ ñåíñó, âêàçàòè ¿é íà ïåâí³ ïîçèòèâí³ ö³ííîñò³, òîáòî ïîäîëàòè êðàéíîù³ í³ìåöüêîãî òà ôðàíöóçüêîãî åêçèñòåíö³àë³çìó é âèðîáèòè ïîçèòèâíó ô³ëîñîôñüêó ïëàòôîðìó.

Êëþ÷îâ³ ñëîâà: ºâðîïåéñüêèé ìîäåðí³çì, ôðàíöóçüêèé åêçèñòåíö³àë³çì, àáñóðä, áóíò, âèá³ð, êîíêîðäèçì, Ñàðòð, Êàìþ, Âèííè÷åíêî.

On September 13, 1946, Volodymyr Vynnychenko have noticed in his diary: “Existencialism is a new 'teaching', a new philosophy of life in France. The Prophet and his Apostle is a writer himself. He preaches freedom. A good word, but what it contains in itself from this teacher, it is difficult to understand. Freedom from obligations? From things, that bind human's life? So far, in the first volume of Les Chemins de la liberte, it is all the time disscussion about sexual relations between intellectuals. It's not clear what they want to have freedom for and protect themselves against what kind of danger: the laws of nature, for example, the birth?..” [Âèííè÷åíêî, 2021b, p. 185]. These words of the Ukrainian writer show his genuine interest in French existentialism, which was defined in 1931 by K. Jaspers, and in 1927 the work of M. Heidegger “Genesis and Time” was published, which inspired J.P. Sartre to write the fundamental intelligence “Genesis and Nothing” (1943). Consequently, existentialism is representing in France the real “spirit of the time”, developing in parallel in the literary (A. Gide, G. Marseille, A. de Monterlan, A. Malraux) and the philosophical spheres (M. Heidegger, K. Jaspers), and then in works of M. Merleau-Ponti, G. Marseille, J. Barre, J.-P. Sartre, S. de Beauvoir, A. Camus.

Vynnychenko's interest in existentialism is evidenced, among other things, by his reading immediately after the release of the first volume of the trilogy “The Roads to Freedom” “The Age of Reason”, which was published in 1946, as well as by his acquaintance with the work of Sartre “Being and Nothingness”, as he reported in his diary on September 18, 1949: “I'm reading 'L'etre et le Neant'. He is a 'Master of the Duma' of the French intelligent society. Book in 720 pages, printed with a small font, is full of such scholasticism, almost metaphysics, that I take off my clothes in front of the author of this least-known work of our time, and especially in front of the author, who reveals himself to be such a 'realist' in his novels. It is shown on the cover of the book I have. It is shown in the cover, that price is about 1000 Francs, but 21 000 copies of the book have been purchased. I must kneel before France, which gave birth to 21 000 such courageous ... desperate heroes” [Âèííè÷åíêî, 2021b, pp. 368-369].

It should be noted that Vynnychenko was not too fair to Sartre. First, this was due to the fact that literary existentialism was only confirmed by its main theoretical works at that time. In addition, in our opinion, the temperament of the Ukrainian artist did not contribute much to reading and understanding the long, devoid-of-action novel “The Age of Reason”, which refers to three days from the life of the protagonist who is looking for money for an abortion for his mistress. The same applies to the rather difficult to perceive, based on the metaphysical, philosophical postulates of the work “Being and Nothingness”, which is considered a theoretical manifesto of the French atheistic existentialism. However, the very fact of Vynnychenko's acquaintance with these works at the time of their release testifies practically to a lively interest in everything new in European culture.

Therefore, the interest in French existentialism was, therefore, quite natural for Vynnychenko, as Man has always stood in the center of the artistic and philosophical reflection of V. Vynnychenko. Such postulates of Sartre and Camus as the perception of all relations of the subject with the world as personal, weakening of the influence of society on the life of the individual, consideration of human activity as spiritual self-realization of the individual, his subjective personal nature, the frequent inclusion of moral problems in artistic works, the introduction of existentials (fate, care, anxiety, fear), the recognition of the rebellion as the only way to gain freedom was constantly in the center of attention of the Ukrainian writer.

The French philosopher-personalist E. Mounier noted in the monograph “Introduction to Existentialism” (1965) that this is the “reaction of human philosophy to the extreme philosophy of ideas and philosophy of things” [Mounier, 1965, p. 8]. The anthropological principle in existentialism was understandable to him as a study of the phenomenon of a Man through the existence of an individual. Existentialists, as you know, are primarily interested in a particular person, a human's behaviour in a certain situation, a person searching for a “true” being in the world. This problem has never been alien to Vynnychenko, especially during the “Mushensky underground” period.

The various modes of human existence can be most adequately conveyed, using several artistic forms in fine literature. It is especially goodworking for the kind of novel, in the center of which is a particular person. This way, which seems to “compensate” the lack of theoretical statements about the personality of the character, went J.-P. Sartre and A. Camus, and V. Vynnychenko as well. All of them are often characterized as writers-moralists. So, this aspect it is necessary to consider the lines of typological connection between Vynnychenko's prose and the leading representatives of French existentialism. In the field of culture, Sartre found his expression in debunking the humanistic forms of social consciousness as one of the illusions, which, along with theism, promotes the mystification of Man's relations with the World. Camus, in his own way, admitted that he follows the position of moralists, wise men of life, who consider clarification of abstract ontological and epistemological issues as the work of philosophers, themselves seeking to solve practical moral problems. In the “The Rebel”, Camus wrote: “The main thing is not to get to the essence of things, but to understand, leaving the world, how it seems being what it goes, how to behave in it” [Camus, 1963, p. 14]. The writer's statement about the purpose of philosophy is remarkable for all French existentialism, which is, above all, a utopian moral and ethical doctrine, trying not to destroy the social system itself, save an individual, and teach him the “true” forms of existence. French existentialists, and at the same time, a Ukrainian writer, claimed the role of “teachers of life”, offering in their works the ideal patterns of human behaviour in the world. The artistic form they apply allows you to translate these schemes into the flesh and blood of heroes and life situations, and they can also serve as a special way to check them practically. Vynnychenko had similar intentions, developing the theory of comprehensive harmonization first of all of himself, of man in general, and then of a particular society and the whole world.

The moral pathos of French existentialist philosophy is manifested primarily through criticism of forms of bourgeois morality as abstract, hypocritical, and alienating the uniqueness of the individual. The critical repulsion from the “non-true” forms of existence is essentially the most important constructive moment in the worldview of the philosophical works of Sartre, Camus and Vinnichenko. The artistic form of the novel and drama, addressed by both French existentialists and the Ukrainian writer, makes it possible to show moral evil as clearly as possible.

Sartre wrote in his essay “Existentialism is a Humanism” (1946), based on his own lecture, laid out 1945, that the spiritual chronology of existentialism begins at the moment of the widespread affirmation of the truth proclaimed by Nietzsche: God is dead. Existentialism (in its atheistic French and Vynnychenko versions) is primarily an attempt to determine the metaphysical status of Man in a world without a God. The tragic stoicism of the absurdity position and rebellion in Camus, the exaltation of free consciousness in Sartre, at the same time, the combination of these two modes in Vynnychenko's text are the proposed options for the unbroken position of Man in the World.

It is known that some of his spiritual teachers, Sartre, Camus and Vynnychenko, considered Nietzsche; at the same time, they did not share some of the concepts expressed by him in general, in particular regarding the biological aristocracy of the social ideal, the will to power, the idea of “the Ubermensch”. At the same time, many of the themes and motives of their texts are undoubtedly connected with the teachings of the German philosopher. The tendency to use myth-making as a particular way of explaining the world and the person in it is a common thing for the three of them.

It is quite obvious that the Ukrainian writer came to existentialism through reading A. Schopenhauer, and then also through Buddhist philosophy. In his concordist doctrine, like A. Schopenhauer, whose philosophical strategy became the European version of Buddhism, he realised Asceticism as one of the main ways of solving the given task.

R. Rolland, A. Huxley, and H. Hesse were concerned with ideas of life in nature away from the city, journeys, restrictions in food and prudence regarding various affective mental states, denial of coercion and violence, as well as the desire for perfection as the norm of human beings. Vynnychenko believes in things, that Man is not a conqueror and not the king of nature, but only a part of it. The eternal artistic desire for harmony corresponded to the spirit of the time, reflecting not only basic intuition sources but also empathy ability. Thus, his idea of the active, everyday creation of personal happiness begins to be realized. The writer focuses on the existentialist priority of the “inner man”.

According to Vynnychenko, spirituality can affect a person's physical life. Based on the interests of his well-being, a person should not allow emotions into his inner life that destroy his psyche. Vynnychenko strictly tries to adhere to this principle in his daily routine. To achieve spiritual harmony, he sets himself the task of being as tolerant as possible to people in the interest of his health. No party, clueless, or national reasons should cause hatred, anger, disloyalty and hostility to people. Diary entries from the Parisian period fully reflect the spouses' admiration of Buddhist philosophy and practice.

Vynnychenko constantly bothers his head about the “plurality” of truth in the 1920-30s, as well as many modernists in that time (K. Capek, W. Faulkner, R. Akutagawa, J.-P. Sartre, A. Camus and others). “We are not given absolute disciples, everything is our hypotheses, more or less corresponding to our logic”, noticed the Ukrainian writer on July 9, 1928 [Âèííè÷åíêî, 2010, p. 423] The idea of a new play, “Messiah”, the last drama known as “Prophet” (1929), was made in such a context. artistic existentialism vnnichenko writer ukrainian

Vynnychenko was an unsurpassed connoisseur of the human soul; he was able to demonstrate the horrors of being, the horrors of feelings, and the inner world of the characters. Capacious dialogues do not acquire unnecessary phrases; at the same time, the atmosphere strains with each spoken word. Each participant in the plays appears as a kind of spiritual invalid, traumatized by Being and able to heal only through acceptance of the faith. Vynnychenko, who gravitates towards the atheistic of Existentialism, is talking about moral choice and human selfimprovement.

To get acquainted with the “Hindu Philosopher” (Gandhi), yoga, gymnastics, meditation, and “naturist breakfasts” this is how the Vynnychenko family considered their life to be happy and luxurious. Shortly before writing “The Prophet”, the writer wrote in the Diary: “When a happy life is a harmonious life when harmony is morality, is it impossible to judge morality based on the life of some person?.. It seems that this is the only criterion that can be used to test this or that doctrine to a certain extent. The second question is: How probable is an individual's life to be harmonious without harmonization with the life of some collective? No way... So, the harmony of an individual life is already harmonious from the point of view of the publicity” [Âèííè÷åíêî, 2011, p. 124]. In the “Prophet” by Vynnychenko, he remained devoted to the idea of “honesty with oneself”. Moreover, he proved that violation of this law leads to punishment, both spiritual and physical.

The Ukrainian writer has long been interested in the mystery of human nature, and it seems it was in the “Prophet” that he finally found out for himself that the moral revival and salvation of humankind should take place even during earthly life. Vynnychenko did not recognize absolute truths, as he did not recognize absolute moral values. “All sorts of the truth can be made a lie, and lies could become the truth... Humanity only lived by this. One truth after a time became mysterious, matched as a lie, thrown away, replaced by a new kind of truth...”. “Expressing love for some, you are inevitable with this very love, you must show hostility to others. Defending some, you attack others” [Âèííè÷åíêî, 1960, p. 75]. So, with the words of the characters of the play, the writer expressed his own ideas, which are the theoretical basis of his moral and anthropological system. “There is no desire for evil in the world to others”, he writes in his diary on March 27, 1929, “there is only a desire for goodness for yourself, from which evil comes necessarily to others. Most often, the desire for good gives birth to evil turned to others. Good and evil are one thing; they are like water. With the desire for good, you can inflict both, evil and good, on others; it depends on the circumstances” [Âèííè÷åíêî, 2011, p. 138].

The character of the Vynnychenko's play is the prophet Amara, the one who loves and lets all the citizens practicing love-being for themselves, whom capitalist Wright calls to get off the throne and see what is happening in the country where he preaches love “on all markets there is a brave bargain in your name, your fault blessing ... everywhere is hostility, evil commiting. It is not God who is not even merciless, bitter, as he himself believes the true sling of God, but the poor man who is blinded by himself. What makes a great evil to people” [Âèííè÷åíêî, 1960, p. 57].

At some point, Amar feels like an unwitting hypocrite who has won undeservedly the love and loyalty of the faithful people, the reputation of “God's man”. In search of the ruthless truth, he goes through a series of judgments of the Wright, Kat Dryton, who are symbolic figures, a sort of natural personalities (such as the philosopher, the bishop, the general, the psychiatrist, the journalist). This way of building the text encourages the writer to discuss the problem of happiness, the multilateness of truth and lies at various important levels.

“Prophet” is a problematic drama, or, as the Ukrainian artist himself called it, “drama with thesis”. In connection with the “Prophet”, it is good to speak not about the denial of technical progress but only about the feeling of disharmony between technical and spiritual development. This is emphasized, for example, by the French researcher J. Cailet in the article “The Theater of Philosophers”: Gabriel Marcel, Jean-Paul Sartre, and Albert Camus are the authors of dramatic works”. The criticist notes that Sartre's treatise “Being and Nothingness” did not remain incomprehensible to philologists, for all its inaccessibility, since the ideas given in here were the same, which they faced in the performances of “The Flies”, “No Exit” [Cailet, 1945, p. 2].

Since the problematic post-war years, Vynnychenko has shown an exceptional interest in dialogue, sharp and passionate attention to the transmission of the nature of human communication. The Ukrainian writer, we can say, is keen on the theatre because of the dialogue, not the show. It should also be noted that, unlike the French playwrights of the Second World War, J.-P. Sartre, A. Camus, J. Anouilh create dramas, in which the problems of tyranny, freedom and responsibility of the individual, the tragic collisions were most often embodied in the form of the Greek myth or find allegorical embodiment in the legendary plots of the Middle Ages. However, Vynnychenko left a modern tragedy on its place. Another feature of his works is the presence of a certain existential motive, the creation of a certain sublime over the routine things, a kind of existential “supertext”, if one can call so, the sense of the transcendent nature of the problems, with which the charackters face in the conditions of tragic events and everyday life.

In the case of Vynnychenko, his concordism grounds were Buddhist teachings and the philosophy of Schopenhauer and Nietzsche. Parodoxal way of the concept of concordism, adopted in orthodoxy and is declared by the Church writer and thinker Basil the Great (330379 AD), who proclaims the agreement of biblical statements with the data of science, defends the belief that the truth is single and there are no disputes between the Word of God and the objectives of natural science. At the same time, emigration works are firmly connected with the “memory of the genre”, anthropological “mirror of memory”, and artistic practices of European modernism. One cannot disagree with L. Onishkevich, who noted that his “Prophet” was ahead of Western European literature, having managed to “predict, correspond and design the situation of hesitation and free choice”, which puts the Ukrainian artist along with the meters of existentialism [Îíèøêåâè÷, 1975, p. 156].

To prove of these words, it is worth mentioning the first play by A. Camus, “Caligula” (1938), whose characters, like the heroes of the “Prophet”, are subject to the disclosure of philosophical theses, in particular the logic of the absurd. Protesting against the fact that people are mortal and dishonest, Caligula moves from absurdity to nihilism, whose space becomes a place of cruelty and abuse. However, the destruction brings characters in self-destruction at the very end. Caligula admits: “I've chosen the wrong path, he did lead me to nothing. My freedom is not that Freedom”. Such a “self-criticism” is perceived almost by a parody resembling the “Prophet”, where the author warns against the danger of risky and reckless interventions in the processes of macro-being in the parodic-grotesque shape. He is against the absurd “absolutization” of the Ideas, against the usual speculative doctrines, risened in the rank of universal worldview aspects, which was especially powerful in the “Prophet”. One of thecharackters turns to the following accusation: “Your teachings destroy the world. You teach love and you hate. You sow peace, and enmity grows up...” [Âèííè÷åíêî, 1960, p. 56].

In connection with the “Prophet”, it is worth mentioning the play of J.-P. Sartre, “The Flies” (1943), which should not be considered as the “Prophet” and “Caligula”, in the way of only an illustration to philosophical speculation, couse they also include social subtext. Sartre and Camus used ancient plots to update the modern topical content. This fact marked changes both in the French theatre of the 20th century and in the drama of Vynnychenko. The “Theatre of Characters” gave way to the “Theatre of situations”. In the eponymous work “For a Theatre of Situations”, Sartre noted that we feel the need to bring certain situations that enlighten important aspects of human existence and incline the viewer to the free choice that a person makes in these situations to the end [Sartre, 1976, p. 4]. Calling his theatre a like this, Sartre emphasizes the importance of exceptional circumstances in which he holds characters (mortal danger, crime) and which gives an idea of what “free choice” itself is. Vynnychenko was ahead of Sartre and Camus in his “Prophet” for many years, not being in the 1920s a conscious existentialist yet, although his play was never staged in the theatre.

For the last twenty years of his life, the Ukrainian writer lived according to the ideas that he admired in Paris, which formed the basis of his philosophical and ethical doctrine. Later, during the work on “Concordia”, the ideas of Eastern philosophy, its humanism and comprehensive harmony play a well-known role in the artist's consciousness. This is indicated, in particular, by G. Kostiuk, considering the complex ideological evolution of Vynnychenko, “marked by the drowning synthesis of the old Fourier and modern Gandhi” [Êîñòþê, 1983, p. 202].

It was challenging for Vynnychenko, as well as for the French existentialists, to find morally impeccable means of achieving freedom. The complexity of such means became the principle of “honesty with oneself” for him. Vynnychenko even played in the casino, developing his own theory of winning, in order to publish “Concordia”. During his thirty years of exile, he tried to consolidate the emigration circles made (though not very successful), establish contacts with politicians of Europe and the United States, and structure the future political order in Ukraine. All this things was based on the principles of concordism. “Concordia and Ukraine” is the slogan under which all his political activities and personal life took place in exile, confirming the correctness of E. Said's opinion about the inevitability of the emigrant assembling the fragments of his own existence in a complete picture.

Sartre, Camus and Vynnychenko put their ideas in a number of journalistic manifestos, artistic and philosophical works, in particular, “Being and Nothingness” by Sartre (1943), “The Myth of Sisyphus” by Camus (1942) and “Concordia” by Vynnychenko (1948). Nevertheless, even today, they remain little known mass reader. The German researcher P. Foulquie, in Sartre's work “Being and Nothingness”, said: “One hand will have enough fingers to count those patient readers who have overcome “Being and Nothing” and even less to list those who have truly understood it” [Foulquie, 1970, p. 34]. Such an opinion, as has already been emphasized, was expressed at ones by Vynnychenko as well, surprised by the many thousands of copies of these books, by the way, seem legitimate in relation to “Concordia”, which, like “Being and Nothingness”, is also very difficult to read.

In the “Myth of Sisyphus”, Camus is limited to what he calls, through an awareness of the absurd existence, to make the unfortunate happy. Nevertheless, the “Myth...”, like Vynnychenko's “Mougins” novels, became works that mobilize to fight against the existence of the Evil for the Freedom victory. As K. Dolgov points out, “it was about developing an attitude to relations in which the worldview was formed” [Äîëãîâ, 1990, p. 365].

Vynnychenko's moral problems arise in the same space in which the evolution of Sartre and Camus as writers unfolded. Defining morality as the “concrete integrity” of Good and Evil, which explains the inevitability of evil (violence) in the course of historical practice, and based on the fact of the disunity of these two dimensions of the historical process in the modern world, Sartre wrote: “The abstract separation of these two concepts simply reflects the alienation of man. It remains to be recognized that this synthesis cannot be realized in a historical situation. Thus, any morality, which is defined as clearly impossible today, contributes to the mystification and alienation of people. The moral “problem” is generated by the fact that morality is both inevitable and impossible for us” [Sartre, 1952, p. 177].

The Ukrainian writer speaks from his own words of Sartre: “If you are honest and innocent in front of yourself, then no human judgment are fearful for you. There is nothing more immoral, difficult and unbearable than a conflict with yourself” argued “honesty with oneself” the Ukrainian writer in “Concordia”. This was the basis of another rule of his behaviour system: “Agree your thoughts and actions, which you promise in words, carry out in practice; whatever you want from others, do it yourself. Without this commandment, no Buddha, Christ, Mohammed, and Moses could have the trust and love of the masses that made them close to Gods. This commandment will also work in our fight against our opponents. No one sort of demagogy, no type of lies can't do anything with our simple, obvious facts” [Âèííè÷åíêî, 2011, p. 239]. So that is causing such a moral fact: “Be firm to the end, as inconsistency, impermanence, swing, indecision and opportunism are the most characteristic features of discordist (destructive) morality”. Since such a morality does not put forward the problem of agreement between word and deed, of course, it does not require both firmness and consistency to the end. “Every honest discordist says 'a' and does not feel the need to say 'B', that is, to bring their cause or activity to an end”. Guided by this principle, Vynnychenko exposed Moscow communism and its “giraffism”: “Never in all times of human history has there been such a disregard for freedom, such universal... despotism as in Soviet Russia. No monarch has ever come to such a terror and prohibitions as Stalin and his associates. such a terrible development of fear, subservience, docility and any humiliation of human freedom and dignity. many of them are sincere, zealously assert by their being, that they remain below, in the old religious, reactionary world. And some unsuccessful fantastic figures with a long neck of the giraffe and the body of the hippopotamus are obtained because of this. They will never be able to be in harmony with themselves. And the words about happy life are one kind therefore and reality has another. And it works in everything, everywhere, this disharmony” [Âèííè÷åíêî, 2011, p. 239]. In this regard, Vynnychenko gave another piece of advice: To remember constantly that everyone is infected with a terrible disease of discordism and should fight it with understanding, compassion, and mutual aid.

The problem of disharmony, which disturbed Vynnychenko, is also common for Sartre. The constant gap between the Ideal world and Reality is the basic thesis of his work “Being and Nothingness”. In turn, some researchers put forward an almost fantastic hypothesis that Sartre could be familiar with Vynnychenkos' novels, published in the Russian language. According to S. Naumovich, some tips in Sartre's writings look like “if they would have been translated from Vynnychenko” [Íàóìîâè÷, 1972, ð. 1079]. It is unlikely that this statement has real grounds, but several facts make it possible to conclude that the thoughts of the Ukrainian writer were surprisingly unanimous philosophical ideas of the 20th century.

1947 Sartre proposed methods for updating the literary process, comparing the moral choice with the creation of the art product on the principle that the artist “creates himself as he use to be, that the totality of his works enters into his life” in his creation [Sartre, 1966, p. 77], The essence of Sartre's method is is primarily in the powerful turn “to express being as existence with its uncertainty, with a coefficient of resistance through the uncertain spontaneity of life” [Sartre, 1948, p. 159]. In other words, if one wants to depict a mountain, he must not describe it in detail but let the character and the reader also climb this mountain, that is, to show the clash of Freedom and Being. Secondly, the characters in the novel should be free to act. “Do you want your characters to live? Make them free”, recommended Sartre to his colleagues. Real character should be shown from different points of view and “from the inside of his own” as well. This is, in Sartre's language the "being-for-yourself" model. For example, in such a context: “As more the author penetrates the consciousness of his character and reflects the uniqueness of his situation, than more guarantees for reaching out to the universal definitions of human existence, the conditions of human existence” [Sartre, 1947, pp. 37, 46].

Vynnychenko is, like I. Franko, a feminist in Ukrainian literature. Checking the possibility of freedom as such in his “Moral Laboratory”, “Atelier of Happiness”, he refers to the imagining of women, whose moral and psychological view is mainly reminiscent of the look of Simona de Beauvoir, feminists' theorist and wife of Sartre (ex. “Mandarins”, “Magic Pictures”). The Ukrainian writer invites a woman into different spheres of life, such as family, sex, and politics. However, he used to show the most probable way of life, what brings woman-character to death. It becomes the payment of heroines for “encroachment” on Freedom. However, it is based on the existential category that Vynnychenko tries to create. His new concept of an integral person on the path from the design of moral and ethical views in literature to the theory that included all the dimensions of his philosophy, taking into account the idea of “comprehensive liberation”, which the Ukrainian thinker began to develop in 1938, ten years later. Sartre proposed a similar concept. Its main point is the recognition that the metaphysical conditions of existence are common to all people, which means “an ensemble of compulsions is limiting a priori the necessity of their birth and death, the need to be 'finished' and to exist in the world among other people” [Sartre, 1948, p. 16].

Existentialists also defined another dependence on man. Humans' existence is entwined into the environment and is possible within the collectivity at the level of communication of "Me" & "Somebody". M. Heidegger refers to this phenomenon as “common being”, K. Jaspers as “communication”, and Sartre as “Situation”. The interconnections between groups, between individuals and groups, remain an abstraction for existentialists, which means the so-called “social relations”. Every activity in existence “requires community, group, unity” [Âèííè÷åíêî, 1913, p. 480] for designing processes, notice Vynnychenko in his pilot project version concept. This idea was preached in the artistic images of the first period ofVynnychenko's creativity (19061920) and in the second (1920-1951) as well, but first appeared in 1913. It is also a component of the ethical and philosophical doctrine of the general construction in a system of coordination between human communities in general and individual or social communication in particular. Honesty with yourself is, at the same time, honesty with others and with teammates.

Sartre's philosophy, like the concordist doctrine of Vynnychenko, is defined by the confrontative paradigm of “being-for-oneself” on one side and “being-for-another” on the second side, which is removed by “breakthrough” (ecstasy) [Sartre, 1996, pp. 404-405]. The conflict of “being for another” Sartre considers the example of attraction to possession both on the cognitive and sexual levels. Attraction is not only the desire to possess and dispose of someone's body, but also, at the same time, enslaving someone else's body, that is, subjugating someone else's subjectivity. Vynnychenko felt this conflict rapidly, not only in philosophical and ethical terms but also in practical, in his own family relations. He acknowledged that the pleasure of owning a woman disappears due to her loss of freedom.

The impossibility of objecting oneself to another as a subject of corporality forced him to seek ways of unity with the another. A new moral and existential attitude toward the other is being built by Vynnychenko, Sartre and Camus, taking into account the following points: a) the inadmissibility of considering the other as a thing suitable for use; b) recognition of another, which has already been a transition to adequate self-knowledge; c) awareness of the planned own being and being-for-another as responsibility. Such a level of partnership could only be achieved through a profound experience of the conflict of being-for-another.

Both writers have created a model of an existential character as a sort of beings in whom everyday life causes only boredom, duty and other forms of denial. Sartre, Vynnychenko and Camus proposed three metaphorical and conceptual definitions of such social ailment: “nausea”, “lepra”, and “plague”, which became a reflection of the mythological way of seeing the world. The inner world of the bourgeois intellectual or the prisoner of socialism is objected to images that, due to the sugetic-poetic concentration, claim to the expression of the truth about the person. The social practice of both capitalist and socialist society discredited itself in the idea of existentialists as a sphere of alienation and dehumanization of the individual life. Before the readers of Sartre, Camus and Vynnychenko, there are anamnesis of social illness, as if filled with the patients themselves.

Sartre's novel “Nausea” (1938) was initially called “Melancholy”, which the author rejected, emphasizing the naturalistic, physiological, but not allegorical nature of the phenomenon described by him, which he turned into a testing ground. For such a goal, Sartre let the new character combine the subject and object of the experiment. Later, the writer admitted that “Nausea” was the best thing he ever had done. The “Nausea” moves Rocanten to awareness of the world's emptiness. This state of despair reveals the individual absurdity of being, both the futility of historical, social, individualistic “picture of the world” and existential freedom. Another character is a humanist named Self-taught, a student who researches the world in a library. Everything seems to Rokanten borrowed, cliched, quoted in Self-taught's world. According to Sartre, the humanism of Self-taught looks like anti-humanism; behind it, Sartre sees lies and fear, creative and physical impotence. It is symptomatic that Rocanten, hating the type of people personified by the Self-taught, is not ready to call himself a misanthrope.

Self-taught's thesis is straightforward to understand: there is meaning in life because there are people who have axiomatic values for him. Thus, freedom is not a human right, not a happy gift, but a peculiar faith, according to Sartre (“a person is thus doomed to be free”). Freedom is like the unheroic standard of responsibility, a choice that does not involve participation. Contrasting the existence of the inhabitants of Bouville, Sartre's character comes to the understanding that the existence is the only fate of a free man, which, according to Rocanten, is less presented in contra to Bouville inhabitance, what stays “on the other side of existence”. Here is a discrepancy between the central character of “Nausea” and “The Stranger” (1942) by Camus in which Sartre sees similarities with his own work, and also sees “a classic exemplary thing about the absurd and a thing designed against the absurd”. Meursault is the character of Camus, having discovered the absurd, kills another and that way himself, after all.

Camus's novel “The Plague” (1947) is a scrupulous description of the epidemic of a terrible disease that ravaged the city of Oran and claimed thousands of lives. The author brings the good news to the reader through all the sufferings and horrors of the epidemic. It triumphs over the tragedy, paving the way for faith in the spiritual forces of a person who, under the influence of the philosophy of scepticism, was completely ready to despair. The appeal of hope lies mainly in the fact that this hope was not born in the paroxysm of fear of the tragic routine of the occupation.

The search for ways to achieve a state of happiness by humanity in general and by a person in particular is comprehended In Vynnycheko's “Eternal Imperative” and “Leprozory”. It is interpreted by the artist as “a system of healing the body, forces both physical and mental, a system based on the balance and coordination of these effects” [Âèííè÷åíêî, 2010, p. 68].

Mougins novels of Vynnychenko deduce also an existential characters. These are Ivonne Volven (“Leprozoria”), Daniel and Maurice Brena (“The Eternal Imperative”), Panas Skyba (“The New Commandment”), Marko Ivanenko (“The Word is Your, Stalin!”). Like the characters of Sartre and Camus, their distinguishing feature is loneliness in the crowd; in the presence of another, they feel like outcasts everywhere. This is the most expressive sign of a new mentality, which is cultivated by existentialist philosophy. According to existentialists, one can understand that one is free to make a choice only after desperation in everything.

The denial of an existential character proposes a special kind of logical pattern. Sartre replaced the Nietzschean constant “God is dead” with the slogan “If there is a man, then there is no God”, Vynnychenko also doubted the omnipotence of religion. If the characters of Kirkegaard move away from people and their judgment to speak one-on-one with God, then God does not hear people commonly in Sartre's, Camus' and Vynnychenko's texts. A person is forced to open himself and the whole world anew by projecting relationships with others.

Accumulating the experience of the “philosophy of life”, Vynnychenko became a representative idol in the trend of existentialists atheism; at the same time, he enriched the existential and humanistic traditions of Ukrainian philosophical culture. In Ukraine, he was called one of the first “Europeans”, meaning that he was guided by the best examples of world culture and sought to bring Ukrainian text beyond everyday life to the heights of European modernism.

The concordism of Vynnychenko is as important today as the existentialists' projects of Sartre and Camus. They have seen the way out of the existential crisis in restoring the value of a person as a living being, a human. A man remains responsible for himself and others, and his freedom is a condition for the existence of the world. Comparing the figures of Sartre, Camus and Vynnychenko, it is worth mentioning such significant moments in their biography as participation in the Resistance movement (Sartre, Camus) and Ukrainian national liberation competitions (Vynnychenko). Sartre recalled that he had never felt more accessible than during the years of occupation, when one word was enough to provoke an arrest. According to the philosopher, the total responsibility of the Man under conditions of total loneliness reveals the essence of freedom.

Something like this has happened to Vynnychenko, although his freedom in frames of practitioners must of emigration was somewhat different. So that, the total loneliness and hard responsibility, the impossibility of personal choice gave rise to a specific modification of Vynnychenko's creativity. It was the main point to changes, mentioned in the Ukrainian writer's text, for example, “Snub-nosed Mephistopheles” was written in Moscow, “The Solar Machine” he made in Germany, all the Concordists' novels were created in France.

At the same time, such an experience can be interpreted as secondary. The discourses of Sartre, Camus and Vynnychenko are somewhat defined by autonomous generating elements. Among French philosophers they deal with the assimilation of the Cartesian metaphysics of subjectivity, the constitutive phenomenology of Husserl, the theory of alienation of Marx, the concept of the spirit of Hegel and the Kierkegaard's idea of individual existence, as well as the transformation of Freudian discourse into a kind of existentialist psychoanalysis.

Existentialists have repeatedly tried to comprehend the fact of their use of artistic forms, and especially the novel. If the French enlighteners argued their appeal to artistic genres with the need to popularize new philosophical views, then existentialists already had greater hopes for the very form of the novel, considering it as a special tool for studying human essence. The novel is not an illustration of the truth, what had already been achieved through philosophical speculation, but it is one of the main possibilities for its development. Camus and Vynnychenko designed in their texts a synthesis of philosophy and literature, a philosophical treatise and a novel. Here, it is worth recalling Camus's words: “A novel is never anything but a philosophy put into images” [Camus, 1965, p. 1117]. Camus's famous words, “If you want to be a philosopher, write a Novel”, which he eventually realised and did. Vynnychenko choose the same way, first creating a number of concordist novels about the hubby cycle and then formulating his own doctrine finally.

If Camus divides his own work into two cycles: absurdity (the “nihilistic” stage) and rebellion (the development of positive moral values), then Vynnychenko's emigration texts can also be divided into “pre-concordist” (until 1934, that is, until the departure to) and “Mougins” era, when the concordist doctrine was developed.

Analyzed writers belong to the type of reflective artists of the 20th century, who constantly reflect on their own work, trying to find its origins, main lines of development, philosophical and moral intentions. There are many confirmations of this in the essays of Camus, Sartre and Vynnychenko's diaries. Each of the cycles created by these artists includes philosophical essays, novels, and dramas that appear as a single philosophical and artistic microcosm or meta-novel. So Camus explores the phenomenon of absurd attitude in the first cycle. “The Myth of Sisyphus” is a theoretical argument about the absurd; this philosophical essay examines directly all the spectra of the “sense of the absurd”, deduces and substantiates the “concept of the absurd”, interprets the problems of absurdist creativity and, finally, ends with the parable of Sisyphus, what is a kind of mythology of the absurd.

Sartre's world is organized in such a way that he does not organically perceive “goodness”. He debunks unselfish feeling as an illusion, unacceptable for the “boundary situation” of the character. Sartre's character lives surrounded by unpleasant people, creatures of envious, frightened, ignorant, cruel, cynical, narcissistic beings with princesses, undermined by absurdity.

Vynnychenko's activity is marked in this period by the creation of the dystopian novel “The Solar Machine”, with the elaboration of the final edition of the story about the events of the Russian-Ukrainian war in the novel “On the Other Side” (1923), with the writing of the adventurous novel “Pot of Gold” (1926) and preparatory work for the creation of the concordist doctrine, the treatise “Happiness (Letters to the Young Man)” (1930) and the first edition of the novel “The New Commandment” (1932), a cycle of dramas, etc.

Camus's main philosophical works are essays written naturally and figuratively. Vynnychenko does not bother with pure philosophical speculation, either. Its constructions grow from endless reflections on one's own existence, political events that took place in the world and in Ukraine, and receptive considerations regarding what was read or heard from a radio receiver.

Camus did not consider himself an existentialist: “I am not a philosopher. I do not believe enough in reason to trust to the system” [Camus, 1965, p. 1427]. These words are to express its closeness to the source of existentialist instruction only: it doubts the possibility of rational, theoretical knowledge of the world, finally showing confidence in direct subjective experience, intuitive forms of knowledge.

Camus's essays, like Vynnychenko's diaries or “Happiness (Letters to a Young Man)” and “Concordism” are not distinguished by a special philosophical aphorism or novelty of the solved problems. Traditional themes of free philosophizing are most often raised in here: the meaning of life and the problem of happiness. The impression of originality that arises in the reader from Camus's essays or Vynnychenko's diaries is a consequence of their merging philosophical reflections on the world with memorable lyric and poetic, metaphorical style techniques.

“The Myth of Sisyphus” is subtitled as an “Essay on the Absurd”. Camus believes that a person wants the world to appear in the form of a coherent, ordered system: “To understand the world needs a person to reduce it, to designate it with his own seal” [Camus, 1968, p. 32]. If man knew that the world could love and hate, that it obeys one supreme principle, then he would be pretty happy, would accept life and himself like it: “This attraction to the absolute expresses the main collision of the drama of human life” [Ibid]. Vynnychenko interpreted the “desire for the absolute” as “the eternal imperative of life”; his position is based on the fact that the natural and organic human desire is the primordial need of “all living things” for happiness and is born from within.

Having based his system on the metaphysical equation “world-man = absurd” and recognizing it as an axiom, Camus deduced a number of logical conclusions from it. First and foremost, the triad of “world man absurd” cannot be broken. To destroy one of its members is to destroy itself. No absurdity exists outside human consciousness, but it is not outside the world” [Camus, 1968, p. 49].

It is constantly stated that the world appears only as a quantitatively inexhaustible given, and the only occupation for the artist is its description, a simple fixation of things: “For an absurd man, it is not about explaining and deciding, but about feeling and painting”, along with the Dionysian vision of the natural life, which has found its “algebraic” expression in the absurd equation “consciousness of man dark world absurd”, in the “myth of Sisyphus”, devoid of any meaning, [Camus, 1968, p. 120]. Creativity appears in Camus's text as a “great mime” of life: “It (a piece of art. aut.) appears as a monotonous and passionate repetition of themes orchestrated by the world already: The body ... is an infinite number of things and sorrows” [Camus, 1968, p. 121].