Pub Date : 2021-08-03DOI: 10.33608/0236-1477.2021.04.57-75
V. Vasylenko
The paper focuses on the madness as a theme and plot in Ukrainian literature of the 1st half of the 20th century. The researcher analyzes ideological and aesthetic tendencies associated with the understanding of the madness phenomenon, clarifies its functional features, symbolic and ideological significance, and emphasizes the connection between the psychological atmosphere of the totalitarian reality and literary interpretations of madness. The analysis involves works of different genres, styles, and dates of writing in which the theme of madness acquires ideologically engaged and symbolically significant content. In “Sanatorium Zone” by M. Khvylovyi the madness phenomenon is associated with the problems of split personality and suicide. It may be explained in a modernist context, as a reflection of the internally conflicting nature of a man, incapable of changing the existing world or getting adjusted to it. In the tragicomedy “People’s Malakhiy”, M. Kulish introduced the idea of madness into the complex sociopolitical context of the soviet reality which he revealed in various forms (from mythological to social-political) using satirical and grotesque images, philosophical generalization, etc. An episode of madness in the novel “The Garden of Gethsemane” by I. Bahrianyi emphasizes the anomality of the soviet world which is symbolized by the punishment cell and characterized as a “conveyor belt for dismantling human souls”. The story of the romantic poet Hӧlderlin in the novel by V. Domontovych is socially and politically conditioned. It reveals the state of a man and the world in a difficult transitional era. In “The Enameled Bowl”, Domontovych elaborates the theme of illness through the idea of the lack of consistency between the internal and external and understands it as an artistic convention that marks the absurdity of the world. T. Osmachka in his prose was especially focused on the theme of madness. He was interested in mental disorders both as a form of the character’s self-awareness and as a clinical story. The mythological and ideological image of a mentally ill man, reflecting a creative person subjected to repression and persecution, is a symbol of his own biography. In general, the changes in the interpretation of mental disorders are associated with the renewal of the modernist poetics and caused by the writers’ attempts to clarify the connection between the external and internal.
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Pub Date : 2021-08-03DOI: 10.33608/0236-1477.2021.04.23-39
Inna Volkovynska
The paper deals with the problem of intermedial connections in literature and focuses on literary translation. The main point is the interaction of verbal and sound images in a poetic work. The researcher analyzes the manifestation of musicality in Ukrainian translations of P. Verlaine’s poem “Il pleure dans mon cœur…” The translations by M. Dry-Khmara (“In the heart both tears and pain…”), B. Ten (“My heart is crying…”), M. Orest (“Crying in my soul…”), M. Rylskyi (“So quietly the heart cries…”), M. Lukash (“Crying is bursting out of heart…”), H. Kochur (“The heart is full of tears…”), M. Tereshchenko (“Singing without words”), I. Svitlychnyi (“The heart is whimpering and crying…”), and A. Sodomora (“There are tears in the soul, tears…”). The embodiment of musicality in the translations of P. Verlaine’s poem has been considered in two aspects. These are the comparison of the phonetic organization of the original work and translations, and comparison of melodics and melody of the original and translations. The results of the study show that intermediate phenomena in the literary work can be translated. Such phonic means as alliteration, assonance, equiphony, sound anaphora, sound circle, used by Ukrainian translators, make it possible to adequately render the sound abundance of P. Verlaine’s poetry. The phonic instrumentation in Ukrainian translations of “Il pleure dans mon cœur…” conveys the melody of Verlaine’s poem and creates sound images that help to reveal the general meaning of the work. The melodics of P. Verlaine’s poetry is reproduced in Ukrainian translations through rhythmic and intonational features while the melody of the original is based on the immanent sound properties of the text. In Ukrainian translations, it is embodied in peculiar melodic images, which, preserving the sound and mood of the original, testify to the original rethinking of the poetic motives performed by translators.
本文探讨文学中的中介关系问题，并以文学翻译为研究对象。重点是诗歌作品中言语意象与声音意象的相互作用。研究人员分析了Verlaine诗歌“Il pleure dans mon cœur…”的乌克兰语翻译中的音乐表现形式，这些翻译由M. Dry-Khmara(“在心中既流泪又痛苦……”)，B. Ten(“我的心在哭泣……”)，M. Orest(“在我的灵魂中哭泣……”)，M. Rylskyi(“心在哭泣……如此安静”)，M. Lukash(“哭泣从内心爆发……”)，H. Kochur(“心中充满了泪水……”)，M. Tereshchenko(“无语歌唱”)，I. Svitlychnyi(“心在呜咽和哭泣……”)和A. Sodomora(“灵魂里有眼泪，眼泪……”)。在魏尔伦诗歌翻译中，乐感的体现可以从两个方面来考虑。这些是对原作和译文的语音组织的比较，以及对原作和译文的旋律和旋律的比较。研究结果表明，文学作品中的中间现象是可以翻译的。乌克兰译者使用的头韵、辅音、等音、回指、循环等语音手段，使魏尔伦诗歌的声音丰富性得以充分呈现。乌克兰语翻译的“Il pleure dans mon cœur…”的语音仪器传达了魏尔伦诗歌的旋律，并创造了有助于揭示作品总体意义的声音图像。魏尔伦诗歌的旋律是通过节奏和语调特征在乌克兰语翻译中再现的，而原文的旋律是基于文本的内在声音特性。在乌克兰语翻译中，它体现在独特的旋律意象中，这些旋律意象既保留了原文的声音和意境，也证明了译者对原文诗歌动机的重新思考。
{"title":"UKRAINIAN TRANSLATIONS OF P. VERLAINE’S ELEGY “IL PLEURE DANS MON CŒUR…”: INTERMEDIAL ASPECT","authors":"Inna Volkovynska","doi":"10.33608/0236-1477.2021.04.23-39","DOIUrl":"https://doi.org/10.33608/0236-1477.2021.04.23-39","url":null,"abstract":"The paper deals with the problem of intermedial connections in literature and focuses on literary translation. The main point is the interaction of verbal and sound images in a poetic work. The researcher analyzes the manifestation of musicality in Ukrainian translations of P. Verlaine’s poem “Il pleure dans mon cœur…” The translations by M. Dry-Khmara (“In the heart both tears and pain…”), B. Ten (“My heart is crying…”), M. Orest (“Crying in my soul…”), M. Rylskyi (“So quietly the heart cries…”), M. Lukash (“Crying is bursting out of heart…”), H. Kochur (“The heart is full of tears…”), M. Tereshchenko (“Singing without words”), I. Svitlychnyi (“The heart is whimpering and crying…”), and A. Sodomora (“There are tears in the soul, tears…”). The embodiment of musicality in the translations of P. Verlaine’s poem has been considered in two aspects. These are the comparison of the phonetic organization of the original work and translations, and comparison of melodics and melody of the original and translations. The results of the study show that intermediate phenomena in the literary work can be translated. Such phonic means as alliteration, assonance, equiphony, sound anaphora, sound circle, used by Ukrainian translators, make it possible to adequately render the sound abundance of P. Verlaine’s poetry. The phonic instrumentation in Ukrainian translations of “Il pleure dans mon cœur…” conveys the melody of Verlaine’s poem and creates sound images that help to reveal the general meaning of the work. The melodics of P. Verlaine’s poetry is reproduced in Ukrainian translations through rhythmic and intonational features while the melody of the original is based on the immanent sound properties of the text. In Ukrainian translations, it is embodied in peculiar melodic images, which, preserving the sound and mood of the original, testify to the original rethinking of the poetic motives performed by translators.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121230707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-03DOI: 10.33608/0236-1477.2021.04.40-56
Serhii Romanov
The paper highlights the key events of the private life of Larysa Kosach and Olha Kobylianska. It focuses on their communication and relations with men (acquaintance, friendship, and love), in particular Serhii Merzhynskyi and Osyp Makovei. The practice of behavior, the emotional and sensual experience of the Ukrainian women from the modern era have been revealed in a comparative aspect. This approach is determined by the special spiritual and sisterly connection between Larysa and Olha, as well as similar stages of experiencing the love feeling. The emphasis is made on the ‘history’ of L. Kosach, which is explained and even duplicated in the ‘history’ of Olha Kobylyanska. A general shaping of the writers’ personalities has been also considered comparatively. The cultural, psychological, and gender aspects in Ukraine of the late 19th and early 20th centuries had to be taken into account. The typology of both personalities has been traced from the time of their adolescence till their adulthood. The author of the paper pays special attention to the social norms as the oldest way to keep a woman within her nature as it was imagined. The traumatic experience of such social representation and the ways of addressing the issue within literary and autobiographical works are highlighted as well. The problem of expressing oneself is an important psychobiographical factor here. All private and public profiles related to human individuality, female nature, and creative consciousness are worth taking a deeper look at. The break up with the authorities, being a dominant feature for these women, is important for each of the mentioned manifestations of personalities and their integrity. The researcher concludes that biographical material, when properly structured, opens up new perspectives for those focused on the life and creative paths of the famous Ukrainian female writers.
{"title":"LOVE STORIES OF THE MODERN AGE. LARYSA KOSACH, OLHA KOBYLIANSKA: REFLECTIONS","authors":"Serhii Romanov","doi":"10.33608/0236-1477.2021.04.40-56","DOIUrl":"https://doi.org/10.33608/0236-1477.2021.04.40-56","url":null,"abstract":"The paper highlights the key events of the private life of Larysa Kosach and Olha Kobylianska. It focuses on their communication and relations with men (acquaintance, friendship, and love), in particular Serhii Merzhynskyi and Osyp Makovei. The practice of behavior, the emotional and sensual experience of the Ukrainian women from the modern era have been revealed in a comparative aspect. This approach is determined by the special spiritual and sisterly connection between Larysa and Olha, as well as similar stages of experiencing the love feeling. The emphasis is made on the ‘history’ of L. Kosach, which is explained and even duplicated in the ‘history’ of Olha Kobylyanska. \u0000A general shaping of the writers’ personalities has been also considered comparatively. The cultural, psychological, and gender aspects in Ukraine of the late 19th and early 20th centuries had to be taken into account. The typology of both personalities has been traced from the time of their adolescence till their adulthood. The author of the paper pays special attention to the social norms as the oldest way to keep a woman within her nature as it was imagined. The traumatic experience of such social representation and the ways of addressing the issue within literary and autobiographical works are highlighted as well. The problem of expressing oneself is an important psychobiographical factor here. All private and public profiles related to human individuality, female nature, and creative consciousness are worth taking a deeper look at. The break up with the authorities, being a dominant feature for these women, is important for each of the mentioned manifestations of personalities and their integrity. The researcher concludes that biographical material, when properly structured, opens up new perspectives for those focused on the life and creative paths of the famous Ukrainian female writers.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"579 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116542894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-03DOI: 10.33608/0236-1477.2021.04.3-22
Y. Barabash
The gap as long as several decades between I. Bunin’s different opinions of Gogol’s personality and writings — from youthful admiration and feeling of emotional and spiritual proximity to the confession of ‘hatred’ in a diary note of emigrant times — has been considered both as historical-literary fact and psychological mysterious phenomenon. The key problem determining the angle of an analytical approach to the topic is the role and significance of the ‘Ukrainian factor’ in Bunin’s biography and literary art, his interest and affection towards Ukraine, its people, nature, history, traditions, and culture, which was testified by the writer’s confessions and became the subject of research in the Ukrainian scholarly discourse and journalism (E. Malaniuk). In that light, the stories by Bunin based on his traveling around Ukraine, the parts of the novel “Аrseniev’s life”, memoir and epistolary materials have been analyzed in the paper. Special attention has been paid to Bunin’s tender attitude towards T. Shevchenko, his creative works and his personality. It was Shevchenko’s poetry as well as “A Terrible Revenge” and “The Old-World Landowners” by Gogol that revealed Ukraine to young Bunin, entering his conscience and creative imagination. As to the later Bunin’s negative attitude towards Gogol, the decisive factors were dissimilarity of both writers’ personal and psychological features and difference of their creative methods and poetics, connected with the change of historical and literary paradigm. In particular, Gogol was the forerunner to modernism from which Bunin stayed away.
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Pub Date : 2021-08-03DOI: 10.33608/0236-1477.2021.04.97-116
Hennadii Noha
The Kyiv Chronicle is a continuation of the most famous piece of the Ukrainian Chronicle Corpus — The Tale of Bygone Years. In manuscript collections of the 15th-18th centuries, it is an integral part of the chronicle of Rus, describing the events from 1117 to 1198. Ukrainian scholars traditionally work with the oldest record — the Hypatian Codex created before 1425. This text has undergone the least interference from scribes. Several generations of authoritative medievalists studied the stylistics and genre diversity of the work in detail. They convincingly argued that the Kyiv Chronicle became a compilation of individual literary pieces. The works were gathered, edited, and compiled by the abbot of Vydubychi St. Michael’s Monastery in Kyiv Moisei at the end of the 12th century. There were four compilations — from 1168, 1170, 1179, and 1190, which formed the basis of Moisei’s version. Petro Boryslavych’s style in the Kyiv Chronicle can be traced most clearly, and scholars attribute the authorship of the most part to him. In particular, Ukrainian and foreign medievalists have no doubt that he was the author of the chronicle fragment that deals with the life of Iziaslav Mstyslavych, his son Mstyslav Iziaslavych and his nephew Riuryk Rostyslavych. The study focuses on the features of the Kyiv Izvod text authored by Petro Boryslavych. The author aimed not just to glorify his prince-patron but tried to model the ideal image of a ruler, describing the actions and characterizing the personalities of contemporary rulers. As to the genre peculiarities of the Tale of Iziaslav, it significantly differs from the other stories on one important event in the life of princes that were singled out by the researchers within the Kyiv Izvod. The Tale of Iziaslav is a large text that covers events of a long period. Therefore, it is reasonable to define this work as a story-chronicle or a biographical chronicle.
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Pub Date : 2020-02-20DOI: 10.33608/0236-1477.2020.01.76-85
Данута Шимонік
Ivan Franko’s publications on slavic issues in “Kurier Lwowski” The article deals with the series of texts by Ivan Franko on the subject of panslavism, or more specifically the Slavic question, published in 1888 in the several issues of “Kurier Lwowski”. Franko presents his understanding of the contemporary political situation and speaks about panslavism in this context, relating the trend to “the flashes of the national feelings” of the Slavs. Penetrating the essence of the movement, the writer and publicist emphasizes the presence of two different currents in it: centralism (Muscovite) and federalism. The Ukrainian writer is sympathetic to the latter that provides for the opportunity of uniting the Slavic tribes in order to defend their common interests and includes the principle of mutual respect and preservation of each national unit’s traditions. The writer supports his position with such authorities as Mykola Kostomarov, Mykailo Drahomanov, and others. Franko writes a lot about the role of the Slavophile Brotherhood of Cyril and Methodius, founded by Kostomarov, and similarity of its program to the posterior Drahomanov’s one. Following the thoughts of historians, Franko emphasizes that Slavic peoples feel the need for “arranging the mutual relationship” because they share common interests. The most important issue for the Slavs, according to the writer and journalist, is the freedom of every nation, now limited, in particular by “tsarist despotism”. “The Slavs can create power — not dangerous to the world, because there is no need in threatening anyone, but sufficient to secure each national individuality and the greatest freedom of national and cultural development”, writes the author of the series. Franko dedicates the final series of texts to the Slovaks and the Czechs.
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Pub Date : 2019-10-16DOI: 10.33608/0236-1477.2019.10.52-58
Yaroslav Myshanych
The essay reviews the studies of Mykhailo Maksymovych that deal with the three works of the 18th–19th-century Ukrainian historiography. According to M. Maksymovych, one may classify the syncretic historiographic works within three main types. These are Cossack chronicles of the late 17th – early 18th centuries, journalistic pamphlets of the late 18th century, and historical novels of the mid-19th century. The scholar used different approaches analyzing the works from the mentioned groups (chronicle by Hryhorii Hrabianka, “History of Ruthenians”, and “The Commoners’ Council” by Panteleimon Kulish). The scholarly historiography of the time was not still shaped enough and the works from the field could have features of fiction and research studies simultaneously. The authors, who didn’t understand history as a separate research field, were free of modern limits and could easily use both fictional and research techniques within the same work. The strict critical attitude of the scholar towards the chronicle by Hryhorii Hrabianka changed into tolerant in the case of “History of Ruthenians” and moderate critical in the analysis of “The Commoners’ Council”. M. Maksymovych tried to be objective in covering historical processes and worked hard to develop a scholarly approach in the evaluation of Ukrainian historiographical prose. Maksymovych took into account the specificity of every single work and, based on the ideas of his predecessors and contemporaries, rather accurately defined the proper frames of the scholarly historiography. At the same time, the scholar didn’t deny the value of fictional works based on historical events.
{"title":"Ukrainian Historiographic Prose of the 18th – the First Half of the 19th century in Assessment of Mykhailo Maksymovych","authors":"Yaroslav Myshanych","doi":"10.33608/0236-1477.2019.10.52-58","DOIUrl":"https://doi.org/10.33608/0236-1477.2019.10.52-58","url":null,"abstract":"The essay reviews the studies of Mykhailo Maksymovych that deal with the three works of the 18th–19th-century Ukrainian historiography. According to M. Maksymovych, one may classify the syncretic historiographic works within three main types. These are Cossack chronicles of the late 17th – early 18th centuries, journalistic pamphlets of the late 18th century, and historical novels of the mid-19th century. The scholar used different approaches analyzing the works from the mentioned groups (chronicle by Hryhorii Hrabianka, “History of Ruthenians”, and “The Commoners’ Council” by Panteleimon Kulish). The scholarly historiography of the time was not still shaped enough and the works from the field could have features of fiction and research studies simultaneously. The authors, who didn’t understand history as a separate research field, were free of modern limits and could easily use both fictional and research techniques within the same work. The strict critical attitude of the scholar towards the chronicle by Hryhorii Hrabianka changed into tolerant in the case of “History of Ruthenians” and moderate critical in the analysis of “The Commoners’ Council”. M. Maksymovych tried to be objective in covering historical processes and worked hard to develop a scholarly approach in the evaluation of Ukrainian historiographical prose. Maksymovych took into account the specificity of every single work and, based on the ideas of his predecessors and contemporaries, rather accurately defined the proper frames of the scholarly historiography. At the same time, the scholar didn’t deny the value of fictional works based on historical events.","PeriodicalId":370928,"journal":{"name":"Слово і Час","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132730559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-16DOI: 10.33608/0236-1477.2019.10.3-13
Olha Punina
In the present paper the scholar refers to the first part of her theoretical concept “psychotype – creator – image” and focuses on the peculiarities of Vasyl Stus’s character. This approach helps to defi ne the psychological type of the poet. Psychic ways of adaptation always leave a mark on the character of the individual. The coincidence between indirect observations of friends, acquaintances and psychological self-characteristics of the writer gives especially important information for the researcher. The analyzed materials include literary texts and different everyday life records that contain psychologically mediated observations and self-observations on the character of Vasyl Stus. These data allow identifying the specific psychological structure of personality based on many characteristics. The attributes ‘strong-willed’, ‘vulnerable’, ‘sensitive’, ‘quicktempered’, ‘uncompromising’, and ‘intellectual’ may be recognized as key features of this personality. The psychological exclusivity of Vasyl Stus is presented by the characteristics ‘self-suffi cient’, ‘intellectually deep man of strong will’, ‘inclined to expansive reaction and unsuited for compromise’. The scrupulous attention to the moral, volitional, emotional and intellectual components of Vasyl Stus’s character brings the researcher closer to determining the author’s model of the world order. The defined psychotype of the writer helps to understand the interdependence of the psychological nature of the author and his literary style
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Pub Date : 2019-10-16DOI: 10.33608/0236-1477.2019.10.73-89
V. Vasylenko
The paper considers the novel “Children of Milky Way” by Dokiia Humenna in the context of the postwar Ukrainian diaspora’s literary process. The focus is on the issues of relations between fiction and documentary writing, the individual and collective experiences. The literary Kyiv, being one of the central images in Dokiia Humenna’s novel, appears not only as a page from individual or national histories, a sample of the Kyiv text in the Ukrainian diaspora’s prose, but also as a generalization based on such texts and made due to various forms of intertextuality, which absorb the history and atmosphere of the Kyiv 1920s. The problem of interrelations between the writer and government, art, politic, and ideology is one of the most essential in the novel: Dokia Humenna reveals various aspects of the writer’s life and work in conditions of the totalitarian state and culture – from suicide to madness, from resistance to adaptation and collaboration. A future person and society in “Children of Milky Way” are represented in a commune. The histories of the two characters-antipodes Taras Saragola and Seraphym Carmalita are connected to its progress and decline; in the world of totalitarian repressions and control they choose different life strategies and roles. The memory about Soviet terror and repressions, as well as the Holodomor-genocide, “killing the Ukrainian peasantry as a foundation of the nation and destructing intellectuals as a brain of the nation” is important in the novel. The history of collectivization is related to the traumatic memory of the serfdom times, which affects the second and third generations and deepens the trauma caused by disintegration of a family, destruction of the patriarchal peasant world. This process was accompanied by desacralization of the Father’s figure as a personification of power, by infantilization of masculinity. The writer associates totalitarian reality with the metaphor of Night, which acquires different ambiguous meanings in the Ukrainian anti-totalitarian discourse.
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Pub Date : 2019-10-16DOI: 10.33608/0236-1477.2019.10.68-72
Pavlo Mykhed
The article reveals the history of the autograph of Taras Shevchenko’s poem “Once I Was Walking at Νight” (“Yakos’-to yduchy unochi”). The poet wrote it in the autumn of 1861. The existence of this autograph was reported by Dmytro Zatyrkevych, who found it while sorting the archive of his late father Ivan Zatyrkevych. The latter himself was a talented poet and began to write poetry being a student of the classical school in Nizhyn. His fable “Puddle” was published in the journal “Osnova” and became popular thanks to the famous Ukrainian actress Hanna Zatyrkevych-Karpinska. She advised the fable to Marko Kropyvnytskyi, who repeatedly and with constant success read it from the stage. Having graduated from Nizhyn, Ivan Zatyrkevych became a military man and participated in the Crimean War. In 1861 he served in Orel, where on May 2 the farewell procession with the body of Taras Shevchenko came. Ivan Zatyrkevych took an active part in preparing the farewell ceremony in Orel. In gratitude, Ivan Lazarevskyi, who was the main organizer of the mournful procession in honor of Taras Shevchenko in Orel, presented the autograph of the poem “Once I Was Walking at Night” to Zatyrkevych. At the top of the autograph, there is an inscription made by an unknown hand: “Autograph by T. H. Shevchenko presented to me by Lazarevskyi in Orel.” A comparison of the handwritings made it possible to establish that this inscription belongs to Ivan Zatyrkevych. In the summer of 1911 Dmytro Zatyrkevych announced his ȇnd to Mykhailo Hrushevskyi and then offered selling an autograph, as he needed money. Apparently, Mykhailo Hrushevskyi agreed and bought an autograph. Hrushevsky published fragments of the correspondence with Dmytro Zatyrkevych and selected poetic and prose works of Ivan Zatyrkevych within the article “One from Nizhyn” in the journal “Literaturno-Naukovyi Visnik”.
这篇文章揭示了塔拉斯舍甫琴科的诗“曾经我走在Νight”(“Yakos ' to yduchy unochi”)的签名历史。诗人在1861年秋天写了这首诗。这个签名的存在是由Dmytro Zatyrkevych报道的，他在整理他已故父亲Ivan Zatyrkevych的档案时发现了它。后者自己是一个天才诗人，开始写诗是在尼津古典学校的学生。他的寓言《水坑》发表在《Osnova》杂志上，并因乌克兰著名女演员汉娜·扎特尔凯维奇·卡尔平斯卡而走红。她把这篇寓言故事告诉了马尔科·克罗皮夫尼茨基，他在舞台上一遍遍地朗诵，每次都很成功。从尼日恩毕业后，扎特尔科维奇成为一名军人，参加了克里米亚战争。1861年，他在奥廖尔服役，5月2日，塔拉斯·舍甫琴科的遗体送别队伍来到奥廖尔。扎特尔科维奇积极参加了在奥廖尔举行的告别仪式的准备工作。为了表示感谢，伊万·拉扎列夫斯基，他是奥廖尔悼念塔拉斯·舍甫琴科游行的主要组织者，把“我曾经在夜里行走”这首诗的签名送给了扎特尔科维奇。在签名的顶部，有一个不知名的手写的题词:“T. H.舍甫琴科亲笔签名，由拉扎列夫斯基在奥廖尔送给我。”通过对笔迹的比较，可以确定这个铭文属于伊万·扎特尔科维奇。1911年夏天，德米特罗·扎特尔科维奇向米哈伊洛·赫鲁晓夫斯基宣布了他的ȇnd，然后提出出售签名，因为他需要钱。显然，米哈伊洛·赫鲁晓夫斯基同意了，还买了一张签名。赫鲁晓夫斯基在《Literaturno-Naukovyi Visnik》杂志上发表了与德米特罗·扎特尔科维奇通信的片段，并在“来自尼日恩的一个”一文中选择了伊万·扎特尔科维奇的诗歌和散文作品。
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