National coloring of the poem “Aeneid. Shevchenko: are his lifetime publications authentic?
The language of I.P. Kotlyarevsky (1769-1838) and T.G. Shevchenko (1814-61) was not Ukrainian, but Little Russian. So, at least, these authors themselves believed and this is how they designated the language of their works on the title page of their lifetime publications. They did not know and did not use the phrase “Ukrainian language”. If you look at the originals of their works, which are carefully hidden from readers, you can see that, indeed, the language of the works of these writers is significantly different from Ukrainian. Modern teachers of Ukrainian literature deceive schoolchildren by calling Kotlyarevsky and Shevchenko Ukrainian writers.
We need to study the issue that interests us not from retellings, articles, false encyclopedias, but from primary sources - documents, books of the time being studied, photocopies of pages from publications of that time (subsequent reprints are simply falsified, such as, for example, the language of the works of Kotlyarevsky and Shevchenko).
A nationalist in the depths of his soul should have warm memories of the Ukrainian SSR. Of course, it was the communists who created Ukraine and finalized the Ukrainian language. language, approved translations and falsifications of the works of Kotlyarevsky and Shevchenko, originally written in a strange, unlike anything else language, which they called “Little Russian”, and the original works themselves were hidden away under the carpet... It was they who carried out forced Ukrainization from the very beginning of their power to the 1940s, the same as former members of the Communist Party of Ukraine, who repainted themselves as Svidomo nationalists, began to be carried out again in the early 1990s.
Kotlyarevsky
| Spread of the edition of "The Aeneid", 1809. Photograph. During Kotlyarevsky's life, this poem had only 4 parts; the remaining 2 parts were completed and published under Kotlyarevsky's name later by some other author. | Kotlyarevsky was the first to write in the “Little Russian language”. This language is indicated on the title page of the lifetime edition of his humorous poem "Aeneid". Familiarization with the original of his lifetime edition shows that now, in the 20th century, his texts have been falsified - translated into modern Ukrainian and presented as authentic texts by Kotlyarevsky. Reading the original shows that Kotlyarevsky actually wrote in Russian, distorting it with the local dialect (as well as completely fictitious humorous “gibberish”) for humor. But there are enough such “dialects” in every region of Russia. Kotlyarevsky's poem is a parody of Virgil's Aeneid. Readers of this page have the opportunity to independently verify the validity of the above from the photo of 2 pages of the 1809 edition of the Aeneid. |
| Quote from the third lifetime edition of the Aeneid, from part 2, should be read like the Russian alphabet (see photo):
(1) "But it's clear already Mr. Taras When reprinting Words that differ from modern Russian are underlined. Translation of this fragment into modern Russian: |
In the modern Ukrainian edition, the same fragment looks like this (we also write it in Russian letters, like Kotlyarevsky’s original, for a correct comparison):"But in s bottom, what
Mr. Taras Naps sano is born like that, Just until this hour Tuh rp And in on St. And T And With And m b And du." The distortions of falsifiers against the original are marked in red. The Ukrainian editors also improved the style without asking, instead of “vzhe” - “, scho”. Or the same in modern Ukrainian. alphabetically:
(3) "But it is clear that Mr. Taras |
Pay attention to how Ukrainizers arbitrarily change the rules for translating the text of the Aeneid into their own language. In one place they change And on s (it is seen on good, written on pompous), in another word next to it, they And leave: wine on out haven't changed!
Exactly like that in one word e changed to uh, for some reason they didn’t want to do this in another: having endured replaced by patient, A seven on Sam not replaced e left untouched. Kotlyarevsky's spelling of the name "Aeneas" clearly indicates a difference in sounds uh And e, which he, when required, freely displayed in the text with the corresponding Russian letters, as is done in the word Aeneas. Ukrainianizers write this name in their own way: Aeneas(or Ukrainian alphabet Aeneas).
This suggests that the translators simply changed Kotlyarevsky’s text to a modern version, without being guided by any principles of “Ukrainian pronunciation.” Another conclusion: Kotlyarevsky wrote words guided by the principle write down as you hear it oral folk speech, and its text conveys the local pronunciation in his time with the letters of the Russian alphabet according to the rules for reading letters generally accepted in Russia at that time. So, he correctly wrote down the word “vin” (he), and he also correctly wrote down the rest of the words with the letter And, replace this letter with s Ukrainizers had no right.
Does this text by Kotlyarevsky really demonstrate serious differences between the “Little Russian language” and Russian? This is precisely a dialect, and close to the modern literary Russian language. Of course, such small differences between the local dialect and high Russian do not give reason to call this dialect a language. Dahl collected as many as 4 volumes of words of the predominantly popular dialect Russian language, words that do not have a general Russian meaning and are found only in their own regions and localities, and this did not give grounds in each region to introduce their own language and demand independence and independence. Here, in the south of Rus', all local vocabulary differences will fit on 2-3 pages of the dictionary. But here there was a group of sectarians who, on the basis of such insignificant differences in language, began to develop the topic of the difference between the Little Russian people and the Russian people, their identity, etc. At the same time, they ignored the fact that these local village differences in dialects in the south of Rus' are different in each province, and there is no and cannot be a common Little Russian language. In the course of the Ukrainian language, Ukrainian teachers themselves admit that the Ukrainian language was developed on the basis of the dialect of villages in the Poltava region, that is, in just one region of the so-called Ukraine.
Let's count the number of words in the given excerpt from Kotlyarevsky's original (1), which differ from the words of the modern Russian language. From 20 words of Kotlyarevsky’s original
14 words completely coincide with the modern Russian language (not even with the Russian language of that time, the minor differences in the spelling and pronunciation of words we do not know, and therefore we will not find fault), and also coincide in the meaning of the word.
6 words differ from the modern Russian language: vzhe, shchob, tilko, siogo, wine, terpev.
A few words reflect the popular pronunciation:
sob, not so much (but everyone in the entire south of Rus' is still shocked),
already, and not already (although perhaps this is poetic license, so that the words fit in size?),
wine, not him,
enduring, but not enduring,
Tilko, and not only.
Now let’s count the number of words in the given excerpt from Kotlyarevsky’s original (1), which differ from the words of the Ukrainian language (2). From 20 words of Kotlyarevsky’s original
11 words completely coincide with the currently printed text in Ukrainian. language: but, sir, Taras, so, on, kind, shchob, tilko, before, wine, hour;
9 words differ from the modern Ukrainian text.
The last line of excerpt (1) is especially indicative: the Russian phrase “there is trouble in this world” was replaced by Ukrainian falsifier translators with a modern version, different from the original: “na sviti sim bidu”. “Terpev” was replaced with “terpiv.”
Thus, Kotlyarevsky’s original is closer in vocabulary to the Russian language than to the Ukrainian language (14 out of 20 possible matches with the literary Russian language, and only 11 matches with Ukrainian). Moreover, of these 11 matches, the majority are neutral words that coincide in both modern Russian and modern Ukrainian. In this case, there is no reason to consider the text printed in Ukraine to be Kotlyarevsky’s text - this is a forgery. Conclusion: the original "Aeneid" by Kotlyarevsky was written in Russian. This is exactly what Kotlyarevsky’s Ukrainian falsifiers want to hide. Ukrainians claim that “The Aeneid” is the first work in the Ukrainian language and refer to it to prove the long existence of the Ukrainian language. They are trying in every possible way to hide the fact that the Ukrainian language is a recently created artificial language (like Esperanto, Volapuk, Czech). But, as we see, “The Aeneid” is a work in Russian (stylized, in dialect).
In addition, in the Ukrainian language there have long been no words “tilko”, there are “tilky”, there is no “but”, but there is “ta” or the Polish “ale”, but their Ukrainizers in Kotlyarevsky’s text left them untouched. In the passage visible in the photo there are also words completely unknown to anyone except Kotlyarevsky: looked up, looked up(meaning trouble has struck). These words were never repeated again either in Little Russian or Ukrainian literature. In general, there are many strange words in the Aeneid, which commentators do not even try to explain, but pass over in silence. Obviously, we are not dealing with a recording of a folk language, but, to a large extent, with an experimental language, which can be likened to the modern “padonkoff” language, widespread on the Internet. The 4th part of the poem generally begins with meaningless “gibberish”, invented for humorous purposes.
All technical texts in the edition of the Aeneid under review are made in Russian, without stylization; and immediately after the final line of the 2nd part there is the inscription: "End of the second part".
"The Aeneid" is a small example of how forgery is easily done in literature. There are no warnings in any edition of Kotlyarevsky’s poem of the 20th-21st centuries that the readers are looking at a translation and not the original text. The reader should remain ignorant and think that Kotlyarevsky wrote in modern Ukrainian, that this language already existed at the end of the 18th century, and Kotlyarevsky only wrote down the folk language and committed a heroic act.
| It is interesting that Ukrainization translators in some cases partially try to justify themselves. Thus, they claim that the letter “yat” (Ђ) in Russian has become “e”, and in Ukrainian - in “i”, therefore replacing the words in passage (1) from the “Aeneid” (“svЂtЂ” with “sviti” (sviti)" etc.) is justified. They just can't explain Why in the Ukrainian language Ђ “passed” into і. Probably, in order to separate the Russian and Ukrainian languages as far as possible - they are too similar, which causes concern to the Ukrainians. The original “Aeneid” by Kotlyarevsky was written in Russian letters of the then existing alphabet, intended for a Russian reader (Ukrainian did not exist at that time) - after all, this is the first printed work in history in the “Little Russian language”. When publishing any book, the publisher first of all evaluates the prospects for its distribution and the target audience, so as not to incur losses. If “The Aeneid” was published for a narrow circle of sectarians (and at their expense) who possessed the key to pronunciation and reading letters in the new language of the sect, then one could assume that the poem was written in some other alphabet than the well-known Russian. And then, indeed, in full accordance with the spirit of Kabbalah, the Aeneid had to be read not as it was written, but by substituting other letters (or sounds) under the printed letters in accordance with a code known only to the sect. But, as one can judge from the output of “The Aeneid” and from the history of its publications, the poem was intended for a general reader, primarily an educated St. Petersburg reader (published in St. Petersburg), who, due to his origin and upbringing, had no experience in Kabbalistics, no secret codes for reading I didn’t know and didn’t intend to know. Based on these considerations, it seems absurd to suggest that the comic poem “Aeneid” was written in some special alphabet. It was written for the Russian reader so that he would laugh at the antics of the Russian language, just as a modern reader has fun reading writings in the language padoncuff. (In addition, the assumptions about the existence of a “Little Russian alphabet” and a special pronunciation of the existing Russian alphabet (a special code for the Russian alphabet) at the end of the 18th century are absurd, they have not been proven in any way and represent unfounded, clumsy attempts by Ukrainizers to justify their manipulations of Kotlyarevsky’s poem ). Where Kotlyarevsky wanted to show a deviation of the pronunciation of a word from the generally accepted one, he did it. Therefore, you need to read not the way Ukrainians consider “correct,” but the way it was read then, the way Kotlyarevsky himself read and pronounced the words. Letter yat and letter e in the Russian language in the 19th century they meant one sound (at least very similar sounds), corresponds to the modern single letter E. Also in the alphabet then there were other duplications: “i” and “i” meant one sound. For example, in the same lifetime edition of the Aeneid, the word “typography” is written like this: “typography”. If in the Ukrainian language they assigned the letter i instead of the letter Ђ, although these are distant sounds, this was already much later than Kotlyarevsky, and, as they say, the master is the master. We are considering Kotlyarevsky's text in a specific edition of the Aeneid of 1809. In Russian grammar, during the reform of 1918, the replacement was made correctly: Ђ=е. Socialists, as a front, excluded yat from their letters and semi-official texts even before the revolution. It created difficulties for writers even at that time; there were principled opponents of this letter, because it was necessary to mechanically remember the rules of when to use Ђ and when to use E, intuitively, this could not be understood by the sound of the words. Dahl writes in his dictionary: |
Shevchenko: are his lifetime publications authentic?
At first, we intended to limit ourselves to a brief information about the history of publications of "Kobzar" and place one photograph of it. But having examined various photographs of copies of the 1840 edition of this book (its title page), different from each other, we doubted the authenticity of the existing copies of the 1840 edition. There was so much material on this issue that it had to be moved to a separate page.
Shevchenko: Little Russian language of his works
O. Buzina reports the following on the distortion of the Little Russian language of Shevchenko’s works by subsequent Ukrainizers of his work:
Photo of a fragment of the lifetime edition of “Katerina” by Shevchenko. |
“The current editions of Shevchenko’s texts are very different from the way he himself wrote them. Taras Grigorievich did not use modern Ukrainian spelling, but all-Russian with solid signs and yats. Already at the beginning of the 20th century, it seemed to his mythologizers that he was not Ukrainian enough and that he too should be posthumously “Ukrainize”, squeezing out the Little Russian spirit from him. They started squeezing out right from the title of Shevchenko’s most famous book. No matter how much someone would like to, Taras doesn’t have the book “Kobzar”! He always wrote “Kobzar” - with a soft sign at the end. These collections were also published - just look at the lifetime editions of 1840 and 1860. But after the death of the great poet, the “national-swidom” editors thought this was “Russianism,” and the soft sign was removed from the title of the book! And at the same time, almost all the poems were corrected, starting with the famous “My Thoughts.” In modern publications we read: |
“Have they stood on paper in so many rows?..”
[Nascho stood on the paper in the summy rows]
And here’s how it was in the lifetime “Kobzar”:
“Why did they stand in so many rows on the papiri?...”
“Sweet, bam, wide, - that’s dumb,” wrote Shevchenko.
Now these words from “Katerina” have been forwarded:
"Svit, big, wide, but dumb de heel."
[Svit, bachsya, shyroky, ta nema de pryhylytys.]
And there are hundreds of such examples! Shevchenko wrote: “brown.” And they slip us "brokens". He has a “king” everywhere. And in modern publications for some reason it’s “king”. In fact, to this day they mock Shevchenko’s authorial will and the fundamental principles of textual criticism accepted throughout the world.”
Since Shevchenko's originals are hidden and falsified, any opportunity to read them should be treasured. Not because of their high merits, but in order to once again be convinced of their difference from the current Ukrainized texts passed off as Shevchenko’s.
V. G. Belinsky’s review of Shevchenko’s poem “Haydamaky” contains large excerpts from the poem. We present this wonderful review in its entirety.
| Belinsky's review was published in his collection. op. M. Khud.lit. 1979, vol.5, p.275.
GAYDAMAKI. Poem by T. Shevchenko (o)?. Saint Petersburg. 1841. In type A. Sycheva. In the 8th d.l. 131 pp. Readers of Otechestvennye Zapiski know our opinion regarding the works of so-called Little Russian literature. We will not repeat it here and will only say that the new experience of the drunkenness of Comrade Shevchenko, a privileged, it seems, Little Russian poet, convinces us even more that such works are published only for the pleasure and edification of the authors themselves: they seem to have no other audience . If these gentlemen kobzars think with their poems to benefit the lower class of their compatriots, then they are very mistaken: their poems, despite the abundance of the most vulgar and common words and expressions, lack the simplicity of fiction and storytelling, are filled with frills and manners characteristic of all bad poets , - are often not at all popular, although they are supported by references to history, songs and legends - and, therefore, for all these reasons - they are incomprehensible to the common people and have nothing in them that sympathizes with them. For such a purpose, it would be better, discarding any claim to the title of a poet, to tell the people in simple, understandable language about various useful objects of civil and family life, as Mr. Osnovyanenko beautifully began (and it’s a pity that he didn’t continue) in his brochure “Lysty” to my dear fellow countrymen." Otherwise, perhaps, some sage scribe from the volost (not Shelmenko), having read your “works,” will answer you in your own words: Warm casing, Tilko Skoda, ("Haydamaky", p. 11). As for Mr. Shevchenko's poem itself - "Haydamaky", there is everything that befits every Little Russian poem: here are Poles, Jews, Cossacks; here they swear well, drink, beat, burn, cut; Well, of course, during intermissions the kobzar (for without a kobzar what would a Little Russian poem be!) sings his inspired songs, without much meaning, and the girl cries, and the storm roars... Overcome, damned Jew! Isn’t it true, what a neat brush in descriptive nature? An entire chapter is devoted to this picture: “Confederates.” - But here is something of a sensitively tender kind. A passionate lover, Yaremo, came on a date with his beloved; but she's not there yet. Yaremo, on this occasion, howls an elegy for a whole page and is about to die, when suddenly - a rustle: Popid guy mov weasel Yaremo says: "Go birdie." "Just a little more, Again the picture, and how alive! This is truly, in the poetic language of the author himself: ushkvaril! The publication is filled with all sorts of errors regarding punctuation marks, as can be partially seen from the examples given, where, in order to maintain the meaning, we were forced to put our own marks in some places |
Already in the title of the poem there are differences between Shevchenko’s Little Russian language and Ukrainian. Shevchenko’s poem in the original was entitled “Haydamaky”, and in the modern Ukrainianized version it is presented to us as “Haydamaky”, if we write this word in Russian letters so that we can compare (in the Ukrainian alphabet: “Haydamaky”).
The very next sentence from the original poem contains big differences from the modern version of the same text in Ukrainian. language:
| Original: Warm casing, Tilko Skoda, (quoted from Belinsky’s review, see source above). |
In Ukrainian language ukr. alphabetically: Warm casing, only Skoda - (quoted from the collected works of Shevchenko, publishing house "Dnipro", 1979, vol. 1, p. 88) |
| Original: Warm casing, Tilko Skoda, (quoted from Belinsky’s review, see source above). Words that were subsequently distorted in the Ukrainian edition of the texts are underlined. |
This Ukrainian text is accurately rendered in Russian letters as follows:uh
flat casing, Tilko Skoda - Nuh us ene sewn, And reasonableuh your uh word Br uh hn uh yu p And dbyt uh (distortions by falsifiers against Shevchenko’s original are marked in red). |
The following phrases of Shevchenko’s original text are also distorted in the Ukrainian version. For example, the original phrase:
"Oh, you're a beaten man, take him down!
Break down the doors until you leave."
In modern editions it sounds like this:
Bo bud uh w b s ty... odch s yay!
Lamait uh dv uh ri, pok s exit uh
(written in the Russian alphabet).
In the Ukrainianized version, a clear Odessa pronunciation is felt: doors instead of doors, etc. There is no point in continuing to analyze this ugly creativity, everything is clear.
| Similar distortions of the Russian language, writing allegedly in a dialect, in a regional dialect, were widespread at the beginning of the 20th century. For example, you can familiarize yourself with the works of A.P. Chapygin. A.I. Kuprin in the story “Grunya” gave a parodic example of the speech of such “soil people”: “You, brother, Kolyaka, this... how is it... You can work... it turns out that you’re doing very well... Just, brother, when you’re writing, you need to get into the very, that is, look into the inside, into the background, therefore, in the thick of it... Study the language, customs, customs, peculiarities... as it is written in my “Irtysh Sketches”? .. “Let’s go with a friend to wander on the lawn.” This is real language learning... You, you know, cling to the earth itself, that is, to its umbilical cord, to its depths... Otherwise, you’ll feel good. , and okay, and basco, and so on, but everything is somehow dragonfly-like... Well, come along, child! " Regional languages were also developed, for example Don language, where the words were written “as heard.” But it is clear that if you write down any speech literally, it will differ from the literary language. We don't say "what", but we say what or what, what, in the north they cluck tso. Then how many people - so many languages. If the footman in Turgenev's novel says ensure instead of provide, then what, drag this feature of his pronunciation into a new regional language? The theme of “Don Cossack Gutar” continues today in connection with separatist sentiments on the Don in Russia. On this Don forum you can familiarize yourself with the vocabulary of this “language”. Parallels with the Ukrainian language and its composition suggest themselves. As a result of these processes, the spread of the Russian language is decreasing - in the 20th century. the area has shrunk due to the invented languages of Belarus, Ukraine, Lithuania, and part of the territory of Austria-Hungary, where previously there was predominantly Russian. Now non-Russian languages have been introduced there as state languages, and Russian is subject to persecution and restrictions. Obviously, the reduction of the Russian language is the goal of those who provoke and support these processes of inventing new “languages,” no matter how absurd and wild they may be. In Russian, like in any other language, there are three styles - high, medium and low. Most of the words are squeezed out of the main everyday use of the literary language and decent oral language, are considered inappropriate and are used only occasionally, in colloquial speech, and penetrate into literary speech only in humorous stories. Everyone knows the word he'll snort, but in literature it is only possible in Chekhov’s story, where there is a humorous surname Pryndin. Bam, kalyak-malyaka, kick, scratch, freebie, halabuda, darkness!, culture, culture-multur, iron, cast iron, let's add- other examples of everyday words that are not included in the high and middle style of the Russian language, and therefore are almost never found in literature. This excursion into the theory of three styles was needed to explain what the simple business of the inventors of new regional languages, the business of soil patriots, is. They replace the generally accepted literary words of the language with words of a low, non-literary style, local and regional, rural, characteristic of marginal linguistic layers. And this substitution, this perversion of language, is formalized in a dictionary. Was puppy, it became tsutsyk. Was I see, it became bachu. I wish I could get enough of it, maybe, maybe I'll(in Ukrainian), in Russian it means: the sky is gloomy, it will probably rain. Of course, this is not the only way of “word creation” in the Ukrainian language. A striking example that the residents of Ukraine themselves laugh at: Chakhlyk Nevmeruschiy- such an equivalent was invented by some Ukrainian. philologist for the name Koschei the Deathless; geometric term tangent turned into I'll finish it off. These equivalents are actually recognized as a literary norm in Ukraine; this is not an anecdote. And the borrowing of words from other languages (mainly from Polish) is discussed at the end of this article. Is it difficult to compose a language? Try it yourself. To begin with, take the basic rule of such “languages”: it is written as it is heard. You can literally write down how we speak Russian (when we speak casually or quickly and don’t care about clear pronunciation), and you’ll get a different written language. For example: Malaco sits on padakoniki in jars. (The milk is in a jar on the windowsill.) Here's a different dictionary, a different grammar - different word endings and agreements. What if we add words from another language, as is done in Ukrainian? There are huge lists of words that are transcribed from Polish into the so-called Ukrainian. Finally, you can simply write abracadabra and match it with real words, compiling a dictionary. For example, The only problem is how to get other people to speak an artificial language, how to impose it on the population. |
There is a document published by one of the leading Ukrainizers of Shevchenko’s works in the Ukrainian SSR, in which he reveals the principles of Ukrainization and provides instructive examples of Ukrainization. This is an article Sinyavsky O. Principles of editing T. Shevchenko’s language spelling and specific expressions (propositions). // Culture of the Ukrainian word. - H.-K., 1931.
[Translation into Russian. language: Sinyavsky A. Principles of editing the language and spelling of T. Shevchenko and specific samples (sentences). // Culture of the Ukrainian word. - H.-K., 1931.]
Such recognitions should be appreciated! It is not often that counterfeiters openly expose themselves to their methods. Why forgeries and not “editing”? Because text editing is work carried out at the stage of preparing a manuscript for printing. But why edit Shevchenko’s texts already published in print? And why use any special editing techniques designed for one specific author? Such editing cannot be called editing - it is a distortion of the author's test, a forgery. From the title of Sinyavsky’s article it is clear that he developed methods (principles) of “editing” language works of Shevchenko. But editing language is absurd. (At its core, editing is checking the text for errors, correcting deviations from the standards of a well-written text, from correct spelling, that were not noticed by the author, the same as a teacher correcting errors in a student’s school essay). In addition, editing the author's text by an outsider is possible only with the consent of the author; the edited text must be submitted to the author and approved by him. And what kind of consent to editing his texts could be obtained from Shevchenko 60 years after his death?
If Shevchenko’s works are written in a language that does not suit the guardians of the Ukrainian language in the 20th century, then it is necessary not to “edit” the language, but to recognize that these works were written in another language, and, at least, not to call Shevchenko a classic of Ukrainian literature.
Conclusion
Why is this page comparing in detail the Little Russian texts of Kotlyarevsky and Shevchenko with the Russian and Ukrainian languages?
To show:
1. There is a big difference between the Little Russian language of Kotlyarevsky, Shevchenko and Ukrainian. Meanwhile, they are separated in time by only 100-40 years. It turns out that the Little Russian language, which has passed into Ukrainian, is changing at tremendous speed - after all, we are assured that both simply reflect the folk dialect of Little Russia and Ukraine.
Of course, no language changes so quickly if it is natural* and actually developed by the people. Consequently, the Little Russian language is not natural, but artificial; it is an arbitrary creation of a bunch of sectarians. Subsequently, with the help of the state machine, this language began to be imposed on the population - through school education, through printed and other ideological products, through forced Ukrainization.**
Did this Little Russian language exist at all, if every farmer author, soil author gives a completely different version of it (and simply put, distorts the Russian language in his own way in order to stylize it as a village, for the conversation of illiterate “linguistic slobs” and for local flavor )?
Lesson in educational program. Photo (scan) from the textbook "History of the Ukrainian SSR, manual for grades 9-10", Kyiv, "Radianska School", 1979 |
In the textbook “History of the Ukrainian SSR, a manual for grades 9-10”, Kyiv, “Radianska School”, 1979 by F.E. Los, V.E. Spitsky with the note “approved by the Ministry of Education of the Ukrainian SSR” we find an interesting detail: the elimination of illiteracy ( which was carried out in Ukrainian) in the 1920s was carried out by the Cheka. “Soviet Ukraine inherited 75% of the illiterate population from tsarism. To overcome this difficult legacy, the All-Ukrainian Extraordinary Commission was created, which was in charge of a dense network of literacy centers (educational education centers).”(p. 118 of the specified textbook). The Cheka was also the name of the structure later known as the GPU, KGB. Is this a coincidence? On the left is a photo (scan) from this textbook (p. 119), which depicts a lesson in an educational program. It is not surprising that there are two strange figures on it, reminiscent of police supervisors (standing), one of the men seems to be wearing a cap and a shirt reminiscent of a military one (however, the photo is clearly retouched and unclear). Education under socialism is forced! And above everyone on the wall is a large portrait of the “Kobzar”, that is, T.G. Shevchenko, the Ukrainian god, in a malakhai, a fur coat and a beard. Secondary education in the USSR was also forced, and administrative liability was provided for evading it (in the case of minors, for the parents of such children). However, this is well known to everyone; the same laws are still in effect. |
2. Little Russian texts by Kotlyarevsky and Shevchenko were subsequently subjected to Ukrainization and falsification in order to pass them off as Ukrainian. In fact, the Ukrainian language is more recent than the Little Russian language and differs significantly from it. The Ukrainian language came from Little Russian, and Little Russian is an arbitrarily distorted Russian.
In addition to the already mentioned differences between the Ukrainian language and the Little Russian language, we point out a huge array of Polish words transcribed into Ukrainian without changes. language from Polish***. This was done to further spread the Russian and Ukrainian languages.
3. To say that Shevchenko or Kotlyarevsky is a classic of Ukrainian literature is a shameless lie.
Note
* For those who do not know that real natural languages have remained unchanged for centuries, here is an example of an early 18th century excerpt from a text in Russian. This is a page from the "Bryusov Calendar", which was published in 1709-1715. and was in great demand. It was printed by the Moscow Civil Printing House. A well-preserved copy of the calendar is in the office of Peter I in the Hermitage. |
Scan of a page from the Bryusov calendar, early 18th century. On the scan of the Bryusov calendar page, we can clearly distinguish the text at the bottom of the page: “In the tables of the last two sheets, after each vertical column with the inscription: “12: signs in” animals,” there is a column with the 12 signs of the zodiac and with the letters: “ Who will say that this is not pure Russian, insignificantly different from the modern Russian language of the 21st century? If we write it in the modern alphabet, we get: "In the tables of the last two sheets, after each vertical column with the inscription: "12: signs in animals", there is a column with the 12 signs of the zodiac and with the letters:" This was written 300 years ago! Another example: a quote from the order of Peter I (1720). There are many such examples, and not only from the Russian language. You just need to take not poetry, which is often written in a strange language or style, not church languages and the languages of sects and sectarians, but be interested in civil and secular literature. |
** The names of the leading Ukrainizers in the leadership of Soviet Ukraine in the 1920-30s are known:
L. M. Kaganovich, 1st secretary. Central Committee of the Communist Party (b)U,
N. A. Skrypnik, who moved from the positions of People's Commissar of Internal Affairs and Prosecutor General to the position of People's Commissar of Education (he is "often considered a symbol of Ukrainian national communism"),
A. Ya. Shumsky, who moved on the contrary, from the post of People's Commissar of Education to the post of People's Commissar of Internal Affairs (and then back to the post of People's Commissar of Education),
V. P. Zatonsky, from 1933 - People's Commissar of Education.
*** The list of Polish words transferred without changes to the Ukrainian language is on a separate page. It is believed that there are approximately 50% of Polish words in the Ukrainian language. But even in the Little Russian language of Kotlyarevsky and Shevchenko there were almost none! From the list you can see that all the words that sound to a Russian person in Ukrainian. language is special, unusual - these are Polish words. These are frequently used words, including prepositions, adverbs, conjunctions, etc., which are used especially often and add color to the language.
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New Ukrainian literature, written in folk colloquial language. The poem was created over a long period of time, over twenty-five years. It is also called “the encyclopedia of Ukrainian life of the late 18th - early 19th centuries,” since the work describes various phenomena of social life in Ukraine at that time, and reproduces the characteristic features of life and customs of our people. With his “Aeneid” Kotlyarevsky told the whole world what such a people are - Ukrainians - with a unique culture and traditions. “Enida” was written by Kotlyarevsky based on a borrowed plot. “repurposed” the famous work of antiquity - Virgil’s “Aeneid” into Ukrainian order. Kotlyarevsky seemed to dress the ancient heroes in Ukrainian clothes, endowing them with the character traits of his people.
The story about the journey of Aeneas and the Trojans is told in a humorous tone. Kotlyarevsky's heroes are devoid of majesty and holiness; they are depicted as ordinary people with their inherent weaknesses.
Kotlyarevsky's "Aeneid" was the most talented reworking of Beryllium's work. The writer used the ancient plot only as an outer shell, filling it entirely with original content.
The heroes of the Aeneid can be divided into two groups: earthly heroes and celestials who live on Olympus. Among earthly heroes, Aeneas and the Trojans stand out. They are depicted in the poem ambiguously: both in burlesque and heroic terms.
In the first sections of the poem, the Trojans are described in a humiliating way - they are a gang of robbers who like to have fun, look into a glass, their behavior is somewhat reminiscent of the entertainment of the Cossacks. The leader of the Trojans, Aeneas, is a “nimble guy” and a “cossack guy”, capable of all sorts of undertakings. He also likes to go for walks. But at the same time, these are people of responsibilities. When the need arises to defend their native land, Aeneas and the Trojans display courage, patriotism, and behave like valiant warriors. In the last sections of the poem, depicting these heroes, Kotlyarevsky moves away from burlesque traditions. In the images of Aeneas and the Trojans, the features of the valiant Ukrainian Cossacks are clearly visible.
In the last sections of the poem, among the Trojans, Kotlyarevsky identifies two - Niz and Euryal. These young men joined the Trojan army to help them fight the enemy, and paid with their lives.
Kotlyarevsky admires the courage of the soldiers and, with the help of their images, expresses his views on how to love and defend the Fatherland:
- “Love for the fatherland, where heroism is,
- There the enemy's strength will not stand,
- There the chest is stronger from the guns.”
As for the images of the gods, they are depicted in a satirical, humiliating way. Kotlyarevsky brought the gods down from Olympus to earth, he deprived them of sanctity and showed them to be ordinary people. The gods in the poem are endowed with the features of the Ukrainian ruling elite of the late 18th century. They are bribe-takers, slackers, intriguers, bored from inactivity, and spend their time quarreling and drinking. The king of the gods, Zeus, is depicted as a drunkard and tyrant. Neptune and Aeolus are bribe takers. Juno is a gossip, an intriguer.
Significant features of the life of the ruling elite of Ukraine are also present in the images of some earthly heroes: Tsar Latin, his daughter Lavisa, Prince Turnus and others. Ivan Kotlyarevsky achieves crushing criticism in his paintings “Hell” and “Heaven”. They are described in the spirit of folklore traditions; the writer expressed folk views in these episodes. In hell there are gentlemen who mocked the common people, unjust judges, bribe-takers, gossips - everyone who did not adhere to the truth in life.
- In heaven, on the contrary, there are people who lived according to their conscience.
The poem well reproduces the everyday life of Ukrainians: customs, rituals, folk beliefs, clothing, housing, entertainment, dancing, national cuisine, traditional medicine, etc. This work depicts the peculiarities of the life of our people at that time. It affirms the long-standing pedigree and national roots of Ukrainians and has important historical and cultural significance.
Every country has works that it is hard to imagine a people without. One of such works, of course, is the poem “Enida” by Ivan Petrovich Kotlyarevsky. Taking as a basis the classic poem of the ancient Roman poet Virgil, Kotlyarevsky told about the adventures of the famous Aeneas in a completely new way, as if all these events happened to the Ukrainian Cossacks. Written in vernacular language, the poem is an encyclopedia of folk life, an endless source of wisdom and cheerful laughter. The created poem is in the travesty-burlesque genre, i.e. one that involves the creative processing of a well-known borrowed plot and the creation of new bright images based on it.
Already the first lines of the poem reveal to the attentive reader the author’s creative intent: to tell, based on a classic work, about the life of Ukrainians.
“Aeneas was an agile guy and in general a Cossack of all sorts...” Such a characterization from the very beginning sets the reader up for a certain order. He still doesn’t know how accurately the author will convey the classic story, but he understands one thing: it won’t be boring. It must be pointed out that Kotlyarevsky is not the first who turned to altering the Roman original. But if his predecessors tried to parody the images and dramatic collisions of the classical epic, then the Ukrainian playwright tried to remake the original Latin text in a pointedly reduced pathetic tonality. His Trojans are “a gang of robbers,” “burnt, bald heads.” The Greeks not only defeated Troy, but “made a pile of pus out of it,” already reminiscent of the Cossack Cossacks. The ironic depiction of the “Trojan-Cossack” army is not at all intended to belittle the heroes; on the contrary, they are persistent, brave, persistent and courageous.
Almost all the characters in the poem, including the gods, are dressed in Ukrainian clothes, eat Ukrainian dishes and prefer Ukrainian drinks. Arriving in Carthage, while visiting Dido, Aeneas changes into the clothes of the late Carthaginian king: “Pants and a pair of boots, a shirt and caftan from China, and a hat, a belt from Kalamaika, and a black silk scarf.” And the dishes on the table were also familiar to the Ukrainian reader: “A pork head for horseradish and noodles for recess, Then turkey with gravy; for a snack, kulish and porridge, salamata, zubki, putra, kulaga and honey cake with poppy seeds.” Even the supreme god Zeus himself “drank fusel and ate herring.” And the goddesses on Olympus sometimes behave like market women: “Venus could not stand swear words, Juno constantly makes faces; and the skirmish began to boil, one wanted to beat the other. Goddesses in anger are the same women and are also weak in quarrels, out of annoyance at times they will lie, and, like merchants, they bawler, dishonor one another, and blame. And the whole family is cursed to its core.”
Kotlyarevsky very reliably cites the customs of the Ukrainian people, depicts the life of different segments of the population, as well as beliefs, clothing, omens, folk festivals and even Ukrainian dishes. For example, from the description of hell you can learn a lot about the style of the then Ukrainian society: “There were all infidels and Christians, there were gentlemen and peasants. There were gentry and townsfolk here, both young and old; there were rich and wretched, there were straight and bow-legged, there were seeing and blind, there were civilians and military, there were both lords and government officials, there were laymen and priests...” And Kumushka Sibyl, talking about herself, gives a peculiar dating associated with those or other episodes of Ukrainian history: “I saw it under the Swedes,” and “when the Tatars came, I was already married.”
Folklore is also widely represented in the poem. The Trojans “They sang all the songs: Cossack, beautiful, Zaporozhye ...”, “They sang about Sagaidachny, probably, they also sang about the Sich.” And during the festivities, music played. So we read about the bandura, pipe, pipe, and other folk musical instruments. Kotlyarevsky did not bypass the folk ones either. Thus, the already mentioned Sibyl is a typical Baba Yaga from Slavic folklore; Having arrived on Latin soil, the Trojans give the king Latin and his relatives a self-assembled tablecloth, a flying carpet and walking boots.
The poem deserves special attention. It organically combines proverbs and sayings (“and she shook everything,” “he who is rich in something is happy with it”), precise catchphrases (“let the devils in,” “cry like a cat in March”). And he repeatedly calls Aeneas himself purely in Ukrainian - Ankhizenko. There are a lot of purely linguistic means in the poem - comparisons (the gods “stuck their noses out of the sky, ... like toads in summer, from the dew”; “Zeus blinked like a rabbit’s whiskers, Olympus, like a little letter, chickened out”), epithets (“damn magpies”, “ damned winds”, etc.) The comedy of the work is also enhanced in this way, like Bursat’s “gibberish”, a wonderful “inverted” language through the unnatural combination of different components, individual words.
“The Aeneid” is the first printed work of new Ukrainian literature. By its very existence, it showed the inexhaustibility of creating literary examples in the native language. Kotlyarevsky masterfully depicted the life of the Ukrainian people, which makes his poem a real encyclopedia of Ukrainian studies.
Need a cheat sheet? Then save - "The national color of the poem "Aeneid". Literary essays!The article contains the main quotes that will help you characterize the hero of Ivan Kotlyarevsky’s work “Aeneid” Juno. This material can be used for quotation descriptions of the image.
1. Eney buv parubok motor
I'm a lad, even if he's a Cossack,
Having succeeded in all evil, agile,
The inveterate barge hauler of all.
2. Aeneas... for not loving her,
What, bachish, was born in Troy
I called Venus mother;
I'm your dead uncle,
Paris, Priam's child,
I gave Venus a little guide.
3. ... wine yakiy suciga,
Palivoda i gorloriz;
According to the retinue, as if there was an escape,
Chiikhsko villa sliz.
Let's go to hell with you,
So that all the people who are near Enya,
I licked it so I could win it myself...
4. Aeneas shout that “I am to Neptune”
I shove the pennies into my hand,
Abi na mori the assault has subsided.”
5. Then Aeneas was born,
Having crossed out of five;
Zveliv prepare and insult.
6. Aeneas will have a stronger kingdom
I will start my own mastership there;
You won't be a little punk.
Drive your entire retinue to the panshchina,
Lots of guys to produce there
I will be a good friend for everyone.
7. Aeneas himself, having gone so wild,
Yak on a lasso stallion,
Just a little bit unsure,
Pishovshi from Gandzeya to dance.
Both boots began to jingle,
Zhizki began to tremble as they danced,
Having tasted the gotsak.
Enei, having collected his swear words into his fist
I haven’t eaten enough salt,
Having planted a cool hayduk.
8. Enei, I’m so drunk that I overslept,
Iz'iv salted ogirok;
Then, having smiled and cleaned up,
I'm a sucker for wonders.
9. That same Enei, spodar, i panyu
Moving on to take a steam bath...
It was already not without sin!
10. Mutiv, as if the Muscovite sat down!
Bo - damn not taking anything - motor,
Lascavius, garnius and agile,
I gostrium, like steel on a razor.
11. Yeney, having spent a lot of time as a guest, -
What's missing from your head?
Kudi yogo Zeus sent.
Having sat there for two years,
And perhaps, I penetrated more,
Yakbi yogo enemy is not sleeping.
12. Ale Enei is our evil one
13.+Eney pijav whip, mov dog;
Mov Kain, completely afraid;
Kabaka started flowing from my nose:
Already knowing the wine, like Zeus.
14. I waited only for night,
Why did Dido have winter eyes,
Without saying goodbye, give the urge to give.
At least the wine is behind her and I scold
I was tired all day long;
Ta ba! Bang, you need to leave.
15. Pogany, vile, disgusting, vile,
Worthless, lance, catelik!
Gulvisa, dirty, prestige,
Worthless, evil, heretic!
For this great amount of yours
I'll give you the bream in spades,
Damn you here!
I see my eyes from my forehead
Tobi, devilish thinness,
You're shaking, I'm sorry in winter!
16. Aeneas, having flown with the blue sea,
Looking around at Carthage;
Fight with your heart, grief,
Slime, you poor thing, wet yourself.
At least od Didoni pour quickly,
She cried bitterly, inconsolably.
Having felt that she was baked in the fire,
Having said: “Grant her kingdom forever,
My lordship will last long,
I wish I had found a friend’s widow!”
17. Yeney got tired of the roads
I pinnoi so whipped,
Don’t give a damn about your spirit.
18.+Eney at least a little bit,
Without losing your mind;
Vin sin buv is God-fearing,
When Dad died, he didn’t give a damn.
19.Pishov to the people, at least be nice.
From the teeming wines of beer,
Having poured into the people of the dribnih, like a river,
Shchob tyamili yogo obid.
20. Enya’s legs hurt,
I can’t feel my hands or my head;
Fallow fallows attacked due to hops,
The eyes are swollen, like an owl,
I'm all blown away, like barilo,
Everything was unkind to the world,
Write across the earth.
I grew cold and exhausted,
I didn’t get dressed in my clothes,
I went to the bench and slept until my suite.
21. Entellovi and giving it to the tavern
I don’t even kiss a dime
For those who showed themselves so guilty.
22. Aeneas, having contained such a fire,
Getting angry, beating, like snow,
I beat everyone there, ringing,
Chimduzh beat Chovniv himself.
23. Enei shouted at the top of his lungs:
“Whoever believes in God - fight!
Chop, carcass, extinguish, pour, forge!
And who gave us such a pile?”
24. Enney beat himself with fear,
In my heart's mind
I immediately lost my temper,
Jumping, spinning and swaying;
I out of my own enthusiasm
Vin, with his head up in the air,
Screaming, fumes mov dog.
Olympic pinches on the entire lip,
I bark my nena to my love,
Having got i into the mouth, i into the nose of Zeus.
25. “Hey, curse the old man!
You don’t look at the earth from the sky,
Don’t you hear what I’m saying to you,
Zeus! – without blinking a whisker.
They fought before the eyes of the vilma,
If Dovik got stuck,
Why won't you help me?
Still, it’s not embarrassing,
Why am I lost, out of sight?
I guess people are your grandson!
And you with the gray beard,
Good Lord Neptune!
Sidish, mov demon, drinking water,
I wince, old scoundrel!
If only I could shake my head
I flooded this fire with water -
The trident will make you angry!
You love the market, brother,
And help people in need
I can’t bear it anymore, I’m tired of sleeping.
I'm your brother Pluto, you bastard,
I got from Proserpina,
Pekelniy, Gaspidsky Kokhanets,
Haven’t you warmed up there yet?
Having formed a brotherhood with devils
I am in the retinue of our bids
I won’t mourn for an hour.
Don't bother at all,
Shouldn't the room stop like that?
Then the fire went out.
I Nenechka my dear
The devil has a ghoul here now;
Or maybe I should go to sleep already
Or slam the ganya.
Now, I bet there’s no time for salt,
Already, having ticked here,
Furtsyu is good.
If she doesn’t spend the night with someone,
Then for whom is it already sewing,
It’s hard for him to sleep.
26. I mitty rushed to the bulk
Please ask her for help,
27. Aeneas, sleepy and huddled,
Shaking in fear and becoming a coward;
Cold poured from his pit;
28.Ishov, ishov, all the Russian curls
In three rows dripping on the bottom,
29. Aeneas, having read the prayer
I knitted my hat tsupko,
In the thick of the fox I pishov,
30.+And you,” she said to Aeneas: “
Motorny, nice fellow,
Say goodbye to your yurboy,
We only go into hell - there is a father
31. Enei is a bad guy;
32. Even though it’s a weekday Eney i like that
33. Without stepping aside from them,
Having brought everyone in with a trinity;
I who has shed at least a little bit,
I gave him subitki.
34. Eneus princips is motor,
Formosus, garnius i agile,
Pobachish yourself innomine!
35. I am the Koshovian Enei the Trojan,
I'm wandering around the world, little bastard,
I travel along all the shores.
36. ...go to Aeneas,
He knows the craft of war;
With my mind and my courage
More specifically, hitting the number
37. Aeneas poked his head in, like directions,
Shouting, jumping, mov for tales,
I gutted the opposite:
Swing your sword - there are dozens of enemies
Lie down with your heels up;
So in the rot they are very sick!
38. Aeneas, to the good of the nature of inclinations,
39. Aeneas, truthful Cholov’yaga,
Having experienced such a mess,
40. Straight, like a pine tree, majestic,
Buvaliy, building, tertiy, zhvaviy,
Such, as a buv N e ch e s a-prince;
Everyone in the bathhouse was staring at him,
I was praised by the enemies themselves,
Loving everyone without being afraid.
41. One of the hands of the Trojan strongman!
Here you can find quotes from the image of Aeneas from the work “Aeneid” by Ivan Kotlyarevsky
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