Conclusion
Most of the Ukrainian folk songs are, as a rule, of ancient date. The
Serbs are the nearest to the Ukrainians of all Slavs with the quantity,
contents and quality of their folk songs.
The leading ideology of these songs is the constant moralization,
desire for liberty, and protest against violence. This popular poetry
is the true picture of a Ukrainian soul that consciously strives to
better conditions of self and of all humanity. Such a nation--such
songs!
One of the greatest authorities on the subject, Drahomaniv, says that
Ukrainian popular poetry is more of historic than of fictitious and
fabulous origin.
Ukrainian folk song naturally had a great influence on national
literature. In 1819, Prince Tsertelev published a collection of
Ukrainian historic songs. Michael Maksymovich, a Ukrainian professor
at the Moscow University, published another compilation of songs
in 1827. Among the greatest students and collectors were Ambrose
Metlynsky, 1854;[1] Pantaleymon Kulish, 1856; Nicholas Kostomariv,
1859; Alexander Rusov and Paul Chubinsky, 1874; Jacob Holowatsky, Rev.
Markian Shashkevich, 1837 (in East Galicia); Osyp Fedkovich, 1860 (in
Bukovina).
These collections of folklore made a decisive turn in national
literature. Latin and Church Slavonic were abandoned in writing,
national consciousness awoke and the Ukrainian masses began the
struggle for liberty and independence, both under the Russian and
Austro-Hungarian governments. Ivan Kotlarevsky was the first one to
introduce the pure living Ukrainian language in his works, 1798,
without an admixture of Russianized and Slavonic words. It was
this very source that produced the immortal poet Taras Shevchenko,
1814-1861, who is classed with the German Schiller and Goethe, the
English Shakespeare, the Polish Mickiewicz and the Russian Pushkin.
Among the greatest students and ethnologists of Ukraine are two
Kiev professors, Volodymyr Antonovich and Michaylo Drahomaniv, who
collected many volumes of Ukrainian folklore; there is a host of other
men of erudition, writers and poets who devoted their lives to the
investigation of the Ukrainian folklore. Among these were Potebnia,
Zhytecky, Manzhura, Hrinchenko, Lesia Ukrainka, Filaret Kolessa,
Ohorowych, Horlenko, Sumtsow, Malynka, Kalash, Martynovych, Slastion,
Speransky, Domanytsky, Tkachenko-Petrenko, Lysenko, Yerofeew, Zelenyna,
Rubets, Marko Vovchok, Franko, Lomykowsky, Tomachynsky, Iwashchenko.
Excellent school books of latest date, with treatises on the subject
were written by Dr. M. Pachivsky, Prof. Lukachivsky, A. Barvinsky,
Serhey Ephremov, Michael Hrushevsky. To quote the German, F. M.
Bodenstedt:
“In no other country did the tree of people’s poetry produce such grand
fruit; nowhere else did the spirit of a nation reflect so vividly and
forcefully in songs as with the Ukrainians. What a sensitive breeze
of sorrow, what immaculate human feelings are expressed in these
songs sung by a Cossack in a foreign land! What a subtle delicacy in
part with heroic force, masculine strength pervade his love songs!
A special attention should be called to the tact and purity, as the
chief factors of these songs. One cannot help but admit that a nation
which sings such songs and is so fond of them--must be far above a
low degree of cultural development.... The Ukrainian language is the
most melodious among all the Slavic tongues, having great musical
properties.”[2]
A Serbian, V. Lukich has this to say: “The Ukrainian language is
distinguished for its harmony and beauty, and is the most adaptable to
music and singing among the Slavic tongues.”...
“The national poetry of the Ukrainians is the richest one in Europe; it
is distinguished for its esthetic properties and poetic inspiration and
harmony of wording; it contains something grand, uplifting, the essence
of feeling, melancholic and invigorating.”
“... the celebrated Russian music is the music of the Ukraine, and
it is the Ukrainian, Gogol, who has opened the way to the Russian
romancers of genius.” (Charles Seignobos, Professor at the Sorbonne.)
A race that has such an inexhaustible source of inspiring poetry which
denotes a great wealth of spirit, inborn intelligence and talented
souls, shall never perish, but its aspirations to a united, free,
independent national existence will be realized:
... No one will chain a live soul,
No one will chain a live word.
* * * * *
The darkness of thraldom will disappear
The light of truth will shine,
And the children of bondage
Shall praise God in Freedom.
Taras Shevchenko.
FOOTNOTES:
[1] The years quoted refer to dates of publication of the works of
these Ukrainian savants.
[2] Translation of the quotations rendered by the author of this study.
Bibliography and Sources
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+The Saturday Review+--August and September, 1912. Various Writers.
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WORKS IN UKRAINIAN, RUSSIAN AND POLISH
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+Antonovytch, Volodymyr+; +Drahomaniv, Mykhaylo+--_Istoricheskia
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Nation--Kiev, Vol. I, 1874, and Vol. II, 1875.
+Barsow+--_Slovo o Polku Igorevi_, I-III, Moscow, 1887-1890.
+Barwinsky, A.+--_Vyimky z Ukrainsko-Ruskoi Ustnoi Slovestnosty
Narodnoi_ (Extracts from the Spoken (oral) Ukrainian-Ruthenian
Folklore), Lviv, 1903.
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+Borzhkovsky, N.+--_Lirnyky_, “Kievskaya Starina,” 1889.
+Chubinsky, Paul+--_Trudy Etnografichesko-Statisticheskoy Ekspedicii
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933; (VII Vols., 1872-1878).
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+Drahomaniv, Mikhaylo+--_Novi Varianty Kobzarskykh Spiviw_--New
Variants of the Songs of Kobzars,--“Zhytie i Slovo”--Life and Word,
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Kiev, 1909.
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+Franko+--_Zhinocha Nevola u Ruskikh Pisniakh Narodnikh_ (Woman’s
Slavery in the Ruthenian National Songs), Lviv, 1884.
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1882, XII, 481; _Kobzary i Lirnyky_, 1884; _Dvie Malorusskia
Dumy_--Two Little Russian Epopees--“Etnograficheskoye Obozrenye”
(Review), 1892, XV, 139.
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Materials, III 692, Chernihiv, 1895-1899; _Litieratura Ukrainskago
Folklora_, 1777-1900; _Chernyhiv_, 1901.
+Hnatiuk, V.+--_Lirnyky_, “Etnografichny Zbirnyk” (Collections).
+Holovatsky, J.+--_Narodni Pisny Halytskoi i Uhorskoi Rusy_--National
Songs of Galician and Hungarian Ruthenia, 1863-1865.
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of the South-Western Division of the Russian Imperial Geographical
Association, Kiev, 1874 and 1875, p. 116-29.
+Kallash, V.+--_Dvie Malorusskia Dumy_--Two Little Russian
Epopees--“Etnograph. Obozr.” (Review), 1892, IV, 140-6.
+Kolberg, Oskar+--_Piesni Ludu Ruskiego_--Ruthenian Songs in
“Pokucie.” (Polish).
+Kolessa, F.+--_Ohliad Ukrainsko-Ruskoi Narodnoi Poezii_ (Review of),
Lviv, 1905.
+Kolessa, Filaret+--_Melodii Ukrainskikh Narodnikh Dum_--Melodies
of Ukrainian National Epopees. In his “Materialy do Ukrainskoi
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_Ukrainski Narodni Dumy_ (National Epics) “Prosvita” Publishing Co.,
Lviv, 1920.
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Tvorchestva_ (Historic significance of), 1847.
+Kostomariv, M.+; +Lomykovsky+--_Istoria Kozachestva v Pamiatnikakh
Yuzhnorusskago Narodnago Piesiennogo Tvorchestva_--History of
Cossackdom in the Memoirs of the South Russian National Song
Production. “Russkaya Mysl”--The Russian Thought, 1880 and 1883.
+Kostomariv, N. J.+--_Sobranie Sochinieniy_--Collection of Works
of--book VIII, Vol. XXI, p. 693-932, Petersburg, 1905.
+Kulish, Panteleymon+--_Zapiski o Yuzhnoy Rusy_--Diary of South
Ruthenia, I, Petersburg, 1856-1867.
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Ancient Times to the Present Day, “Ukrainske Slovo,” Berlin,
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+Lukashevytch Platon+--_Malorossiyskia i Chervonorusskia Narodnya Dumy
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+Lysenko, M. V.+--_Memoirs_ (Zapiski) _of the South-Western Division
of the Imp. Russ. Geographic Society_, 1874; Musical Notations
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Epics); _Kharaktieristika Muzykalnykh Osobiennostiey Malorusskikh
Dum i Piesien Ispolniayemykh Kobzariem Veresayem_--Musical
Characteristics of Little Russ. Epics and Songs sung by Kobzar
Veresay; Ibidem, 1874, p. 339-66.
+Maksimovytch, M.+--_Detto_, reprinted by him, 1828; _Ukrainskia
Narodnya Piesni_, Ukrainian National Songs, Moscow, 1834; _Sbornyk
Ukrainskych Pisen_, A Collection of Ukrainian Songs, Kiev, 1849.
+Maksymovich+--_Kriticheskiy Rozbor_ “Slova,” in “Sobranie Sochineniy,”
1880.
+Malynka, A.+--_Prokop Chub, Perekhodniy Typ Kobzaria, “Etnograph.
Obozr.”_--Prokop Chub, Transitional Type of Kobzar--“Ethnographic
Review,” 1892, I and IV.
+Martynovych, Porfyr+--_Ukrainski Zapysi_--Ukrainian
Memoranda--“Kievskaya Starina,” 1904, II, 257-313.
+Metlynsky, Ambrose+--_Narodnya Yuzhnorusskia Piesni_--South-Russian
National Songs, Kiev, 1854.
+Nizhankowsky+--_Ukrainsko--Rusky Spiwannyk_, (Collection of Songs),
Lviv, 1907.
+Novikov+--_Sbornik Piesien_, St. Petersburg, 1780.
+Novitsky+--_Malorusskia Piesni_, Kharkiw, 1894.
+Okhorovitch, K. F.+--_Kobzar Ostap Veresay_ in “Kievskaya Starina,”
1882, VIII, p. 259.
+Potebnia, O.+--_Obyasnieniya Malorusskikh i Srodnykh Narodnykh
Piesien_--Explanation of the Little Russian and other songs related
to them, Warsaw, 1883-1887.
+Pypin+--_Istoria Russkoy Etnografii_, St. Petersburg, 1891.
+Rozdilsky, Osyp+--_Zbirnyk Ukrainskykh Pisen_ (Collection of Ukrainian
Songs).
+Rubets, A. I.+--_216 Narodnykh Ukrainskikh Napievov_--216 Ukrainian
National Songs (Melodies), Moscow, 1872.
+Rudchenko+--_Chumatskia Narodnia Piesni_, Kiev, 1874.
+Rusov, Alexander+; +Chubynsky, Paul+--_Dumy i Piesni Ispolnennya
Veresayem, v “Zapiskakh Yugozapadnago Otdiela Imperat. Ross.
Geographicheskogo Obshchestva”_--Epic Poems and Songs performed by
Veresay in the “Diaries of the South-Western Division of the Russian
Imperial Geographic Association,” Vol. I, Kiev, 1874, and Vol. II,
1875.
+Shchurat+--_Z Hutzulshchiny_, in “Literaturni Nacherki,” Lviv, 1913.
+Shukhevich, V.+--_Hutzulshchina_, V Vols., Lviv, 1906-1908.
+Slastion, Opanas+--_Kobzar Mikhaylo Kravchenko i Yego Dumy_ (and His
Epics)--“Kievskaya Starina,” 1902, V.
+Sobolewsky+--_K Slovu o Polku Igorevi_, 1916.
+Sosenko, Xenofont+--_Pro Mistyku Hailok, Studia z Ukrainskoi Hlybyny_
(About the Mystics of Hahilky--Spring Songs--A study of Ukrainian
Antiquity), Lviv, 1922.
+Speransky, M.+--_Yuzhnorusskaya Piesnia i Sovremiennyye Yeya
Nositeli_--South-Russian Song and Her Contemporary Inheritors, Kiev,
1904.
+Sreznevsky, J.+--_Zaporozhska Starina_--The Zaporozhian Antiquity,
Kharkiv, 1833-8.
+Sumtsow, M.+--_Kolomiyki_, “Kievskaya Starina,” 1886.
+Sumtsow, M.+--_Sovremennaya Malorusskaya Ethnografia_ (Contemporary
Little Russian Ethnography), Kiev, 1893-1897.
+Sumtsow, M.+--_Noviy Variant Dumy ob Aleksieye
Popovitchie_--“Kievskaya Starina,” 1885, I, 186-91.
+Svientsitsky, Ilar+--_Pokhoronne Holosinnie i Tserkovno Religiyna
Poeziya_--Funeral Dirges and Church-Religious Poetry, in “Memoirs of
Ukr. Scientific Society of Shevchenko,” XCIII-IV, 1910.
+Tkachenko-Petrenko, E.+--_Dumy v Izdaniyakh i
Izsliedyvaniakh_--Epics--those published and searched for, “Ukraina,”
1907, p. 144-185.
+Tomachynsky, V.+--Kievsky Telegraf, No. 59, 1872.
+Trutowsky+--_Sobranie Russkikh Piesien s Notami_ (Collection with
Music), St. Petersburg, 1776.
+Tsertelev, M. A.+--_Malorossiyskia Piesni_--Little Russian Songs,
Moscow, 1827.
+Tsertelev, M. A.+--_Opyt Sobrania Starynnykh Malorossiyskikh
Piesniey_, (Review of Collection of Ancient Little Russian Songs),
1819.
+Tykhovsky, Jul.+--_Prozoyu ili Stikhami Napisano “Slovo o Polku
Igorievie?”_--Was the “Word of the Armament of Igor” Written in Prose
or in Verses? “Kievskaya Starina,” X, 1893.
+Ukrainian Scientific Society+ of Shevchenko, Literary Review
of--_Variyanty Melodiy Ukrainskykh Narodnykh Dum, Ikh Kharakterystyka
i Grupovannye_, CXVI, Liviv, 1913. (Melodies, Characteristics and
Arrangement of); Also Epics in comparison to Songs, Verses and
Funeral Dirges, CXXX, CXXXI, CXXXIV.
+Viesielovsky, A.+--_Tri Glavy iz Istorii Poetiki_--Three Chapters on
History of Poetry, p. 137, Petersburg, 1899.
+Vladymirov+--_Istoria Literary Kiivskoho Periodu_--Phototypic reprint
of the first edition of the “Slovo o Polku Ihorevi,” St. Petersburg,
1914.
+Waclaw z Oleska+--_Piesni Polskie i Ruskie Ludu Galicyiskiego_, Lviv,
1843.
+Zakrewsky+--_Starosvyetski Bandurist_ (The Bandurist of Old),
1861-1862.
+Zegota, Pauli+--_Piesni Ludu Ruskiego w Galicyi_ (Polish)--Songs of
the Ruthenian People of Galicia, Lviv, 1839.
+Zelenyna, D. K.+--_Bibliografichieskiy Ukazatiel Russkoy
Etnografichieskoy Literatury o Vnieshniem Bytie Narodov Rossii._ The
Bibliographic Guide to Russian Ethnographic Literature concerning
the External State of the Peoples of Russia in the (Zapiski) Memoirs
of the Imperial Russian Geographic Association, Vol. XL, I edition,
1913, p. 255-82.
+Zhdanow+--_Literatura Slova o Polku Igorevi_, “Sochinenya,” I, St.
Petersburg, 1904.
+Zhytetsky, Paul+; +Kotlarevsky, A. A.+; +Lomykovsky+--_Mysli o
Narodnikh Malorusskikh Dumakh_--Thoughts about the Little Russian
National Epics, 1893.
FOOTNOTES:
[1] Little Russian and Red Russian (Galician) names for the Ruthenians
or Ukrainians according to the Russian and Polish State ideology, which
appellations every conscious Ukrainian resents, because they are used
for purpose of dividing the Ukrainian nation.
Transcriber’s Notes
Possible printer’s errors in punctuation, hyphenation, spelling, and
spacing were generally retained, except for changes listed below.
_Italics_ and +Small Caps+ were converted as so.
Cyrillic and Greek script were transcribed as printed.
Footnotes were reindexed and moved to the end of their respective
chapters. Some footnote links within the text were silently moved due
to odd punctuation.
On songs
Where the line spacing between close songs could cause confusion about
whether or not they were different, spacing was added.
Some punctuation was altered or added to, or to near, the songs.
Thought break formatting indicates ellipsed text, as do ellipses within
the songs.
On page 17, “St” was changed to “St.”.
Notably, on page 29, “row” was corrected to “raw”.
Other retentions
Variable diacritics, as with “Bohdan” and “Bohdàn”, were retained.
The author’s romanization/transliteration of Cyrillic script was
retained as is; there are many variations in names and places.
Here are some illustrative examples of the many retained variations
in names: “Drahomanov”, “Drahomaniv”, “Dragomanof”, “Drahomaniw”,
and “Drahomanow”. “Chmielnitsky”, “Chmelnitsky”, and “Chmeilnitsky”.
“Antonovich”, “Antonovitch”, “Antonovytch”, and “Antonowitch”.
Other changes
“Moskow” and “Moscou” were silently standardized to “Moscow”.
“Moskovite” was standardized to “Moscovite”.
The words “vol.” and “vols.” were standardized to “Vol.” and “Vols.”.
Volume number was standardized to uppercase, i.e., “Vol. i” to “Vol. I”.
Periods and spaces were added to “ff”, “p”, “pp”, “vol”, and “vols”
where missing and appropriate.
On page iv, “somtimes” was corrected to “sometimes”.
Chapters IV through X have letter section headings to organize and
divide the poems. The higher division is in the form of “A.” and is
always at a chapter division. The lower division is of the form “(a)”.
The heading of Chapter VI was changed from “D.” to “(d)” to better
reflect that division.
On page 35, the sentence that begins with “Terribly” was reformatted as
a normal paragraph.
In the 9th footnote of Chapter VI, an aberrant quotation mark was
removed.
In the 14th footnote of Chapter VI, “Drahomaow” was corrected to
“Drahomanow”.
“Conclusion” was added to the chapter heading of Chapter XI to match
the Table of Contents.
On page 65, the quotation that begins with “In” and ends with
“properties” was presumed to be a single quotation, so some punctuation
was removed. In the book, the punctuation was along a line break.
The Bibliography was partially standardized while maintaining its
variable formatting style. Primarily, some of the punctuation was
standardized; italicization was added to a title if partially missing,
due to a line break or other cause; and italicization was removed,
mainly from the English translation of a title whose transcription was
already italicized.
On page 71, “Wondering” was corrected to “Wandering”.
On page 71, under “Chubinsky, Paul”, the page numbers “847” and “933”
were exchanged so that the page numbers would increase in the list. The
3 numbers in the list should be accurate since their unifying feature
in the referenced work is that they are folk songs collected by N. I.
Kostomarov.
In the bibliography’s footnote, “appelations” was corrected to
“appellations”.