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Additional resources for [Journal] Harvard Ukrainian Studies. Vol. V. No 2
Example text
But the poem also has a deeper symbolic level, for it is at the same time an elaboration of the Cossacks’ relationship to death, or, more specifically, to their existential status on the borderline of life and death. Throughout Sevenko’s poetry the image of the Cossack is almost invariably linked with the image of the grave, the mohyla. Most obviously and generally, this signifies that the Cossacks are now dead and in the past, as we see in the oft-cited opening lines of "Ivan Pidkova": ]Byno KOJmcb-B YicpaiHi PeBiJiII rapMaTfl; Byno K0Jmcb-sanoposUi BMiJm HaHOBaTH.
LHBHCB, HTHHO, Yci Ti MorMJlH, yci oTaici. - HaMHHeHi HaWHM 6Jia1OpOHHM TpyrloM, HaqnHeHi Tyro. Oie BOJISI cnwrb! na BOHR BKyfli 3 naMI4, K03aKaMH! EaqHul, 81K JlexHmHeHa’ie cnoBllTa! . TyT nasa HeMac, Yci MB OHKO Ha BOJU KHJIH! Yci Mit OHaKO 3a BOJISO jisirjui, Yci MB BcTaHeM, Ta 6or 11oro 3Hac, KoJIB-To Te 6yte. lines 24-36 Anonymity, however, is not absolutely essential, and there are numer ous instances where Cossacks are named. But these are without exception either legendary heroes, such as Ivan Pidkova, or the entirely fictional Hamalija, or the leaders of Cossack uprisings -Taras Trjasylo, Loboda, Nalyvajko, Ostrjanycja, and Palij-or, finally, leaders of Hajdamak uprisings-Honta, Zaliznjak, vaka.
2° 19 Cf. "Poslanije," lines 91-99: 51ic6u Bit B4HJIHCh raic, BK rpe6a, To n MYJIPOCTb 614 öyna CR081. A TO 3aJIi3eTe Ha He6o: <<1 MB H MM, i B H Si, I ace e 6aqHB, i Bce iaio, HeMa Hi neiuia, aHi palo, HeMac Il 6ora, TiJmKO B! Ta yitit HiMel3l y3JloBaTHii, A 6ini,ui HiKoro! 8> 20 Cf. "Zastupyla orna xmara": "Iz-za Dnipra napyraje-/ Durnyj Samojlovy" lines 7-8; or in "Slipyj": "Kyrylo z starlynamy/Pudrom osypalys’/I v caryci, mov THREE I’ERSPECTIVES ON THE COSSACK PAST 185 The judgments on Cossack structure as a collective entity are somewhat more developed, but no less categorical.