The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic fi nale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.

中文翻译：

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唐璜主义的精神分析和存在主义版本：Lesia Ukrainka 的 The Stone Host

这篇文章证实了在解读 Lesia Ukrainka 的戏剧 Kaminnyi hospodar (1912; The Stone Host) 时，精神分析和存在主义方法论的必要性，包括 José Ortega y Gasset 和 Miguel de Unamuno 的作品《堂吉诃德》，阿尔伯特加缪的作品《荒诞的人物》（The Myth of西西弗斯。关于荒谬的论文）和雅克·拉康的《镜子舞台》。传记数据证明了作者对传奇世界处理的批判态度。她对传统的挑战是大胆而自觉的。人们认为，Lesia Ukrainka 与传统的论战的主要观点是关于唐璜护教学，由浪漫主义者引入并由现代主义者发展。探索唐璜的心理构成提供了一个机会，表明传说中的所有参与者都成为了唐璜道歉（区分故事的悲剧结局）的受害者。唐璜神话在人物形象（社会面具）被人物接受为自我的可信形象方面发挥了不可或缺的作用。对《石主》中镜像的解释及其在最后一幕中的关键作用，可以证明镜子服务于自恋人物对自己的钦佩，不仅向他们展示了迷人的外表，而且向他们展示了由神话创造的理想版本的自我.