By analyzing literary works, correspondence and other materials of the members of the secret political organization in Kyiv "Cyril and Methodius Brotherhood", it became evident that the members were ...acquainted with the literary and scholarly works of Ján Kollár, Pavol Jozef Šafárik, Václav Hanka and Ľudovít Štúr. Thanks to the use of biographical and, to a lesser extent, bibliographical methods, it was possible to make several clarifications about the familiarity of the members of the Brotherhood with this or that publication, in particular, about one book that V. Hanka sent to M. Hulak. The article clarified a circle of people from whom the members of the organization could get information about Slovak and Czech figures. The considered material constitutes a reliable factual basis for further reconstruction of the echo of the views of Slovak and Czech leaders in the ideology of the Brotherhood. It is proved that Cyril and Methodius members were well aware of J. Kollar's treatise On the literary reciprocity, works of P. Šafárik in Russian translations, etc. There was also active interaction with the literary heritage of J. Kollár and V. Hanka that influenced the work of Mykola Kostomarov.
The paper aims at identifying possible typological overlaps between the works of Slovak romantic poets (Samo Chalupka, Andrej Sládkovič, Janko Kráľ, Ján Botto) and the most prominent Ukrainian writer ...Taras Shevchenko. The paper uses a comparative typological approach. The research is carried out within the framework of such a kind of comparative typology as comparative thématologie. Typological comparison of Slovak poets’ works to the ones of Taras Shevchenko revealed not single ideological-thematic overlaps between them. On the other hand, it clarified a modern idea of the creative individuality of each of the poets under consideration. All the poets are united by a universal motif of love for motherland, longing for it, especially in the conditions of being in a foreign country or even exile, as in Shevchenko’s case. The poets employ similar artistic means, celebrating beauty of their native land. At the same time in the works of Slovak poets and Shevchenko there is no lack in examples of different interpretations of similar subjects, as in the verses with the same name „Mower“ of Chalupka and of Shevchenko, poems „Maryna“ of Sládkovič and of Shevchenko, ballads „Yellow Lily“ of Botto and „Lily“ of the Ukrainian. A comparative typological approach to the material, well known at first sight, provides a detection of previously unnoticed analogies and similarities between the works of Slovak poets and Shevchenko, enabling a new understanding of the common literary and socio-political context.
Analýza literárnych diel, korešpondencie a ďalších materiálov členov tajnej politickej organizácie v Kyjeve Cyrilometodské bratstvo ukazuje, že jej členovia poznali literárne a vedecké diela Jána ...Kollára, Pavla Jozefa Šafárika, Václava Hanku a Ľudovíta Štúra. Vďaka využitiu biografických a v menšej miere aj bibliografických metód sa podarilo objasniť, že členovia Bratstva poznali konkrétne diela, išlo napríklad o knihu, ktorú V. Hanka poslal M. Hulakovi. Štúdia identifikuje okruh osôb, od ktorých mohli členovia organizácie získať informácie o slovenských a českých osobnostiach. Spracovaný materiál predstavuje spoľahlivý faktografický základ pre ďalšiu rekonštrukciu ohlasov na názory slovenských a českých predstaviteľov o ideológii Bratstva. Je dokázané, že členovia Cyrilometodského bratstva dobre poznali rozpravu J. Kollára O literárnej vzájomnosti, diela P. Šafárika v ruských prekladoch a pod. Aktívna bola aj interakcia s literárnym dedičstvom J. Kollára a V. Hanku, ktoré ovplyvnili tvorbu Mykolu Kostomarova.
Cieľom príspevku je identifikovať možné typologické zhody medzi dielami slovenských romantikov (Samo Chalupka, Andrej Sládkovič, Janko Kráľ, Ján Botto) a najvýznamnejším ukrajinským spisovateľom ...Tarasom Ševčenkom. V štúdii sa uplatňuje komparatívno-typologický prístup. Výskum sa realizuje v rámci takej komparatívnej typológie, akou je komparatívna tematológia. Typologické porovnanie diel slovenských básnikov s dielami Tarasa Ševčenka ukázalo, že medzi nimi neexistuje len jedna ideovo-tematická zhoda. Na druhej strane objasnilo modernú predstavu o tvorivej individualite každého jedného básnika, ktorý je predmetom našich úvah. Všetkých básnikov spája univerzálny motív vlasti, túžby po nej, najmä v podmienkach, keď sa človek nachádza v cudzine alebo dokonca exile, ako to bolo aj v Ševčenkovom prípade. Básnici využívajú podobné umelecké prostriedky, oslavujúce krásu ich vlasti. Zároveň v dielach slovenských básnikov a Ševčenka nechýbajú príklady rôznych interpretácií podobných tém, ako je to vo veršoch s rovnakým názvom „Kosec“ od Chalupku a Ševčenka, v básňach „Marína“ od Sládkoviča i Ševčenka, v baladách „Žltá ľalia“ od Bottu a „Ľalia“ od ukrajinského básnika. Komparatívno-typologícký prístup k materiálu, dobre známy na prvý pohľad, poskytuje možnosť zaznamenať pôvodne nepostrehnuté analógie a podobnosti medzi dielami slovenských básnikov a Ševčenka, umožňujúc tak nové chápanie spoločných literárnych a spoločensko-politických súvislostí.
Príspevok si kladie za cieľ zistiť, či Taras Ševčenko poznal určité práce Jána Kollára, poukázať na možné kontakty i typologické prieniky medzi oboma spisovateľmi v traktovaní témy národného ...obrodenia a zároveň upozorniť aj na odlišnosti medzi nimi. Článok kombinuje metódy a techniky komparatívno-historických literárnych štúdií a komparatívno-typologického výskumu literatúry. Porovnanie tvorby dvoch veľkých slovanských básnikov odhalilo isté súvislosti. Potvrdzuje sa, že Ševčenko poznal sonety 267 (podľa originálu) a 75 (v preklade do ruštiny) z Kollárovej poémy Slávy dcéra podľa zbierky Amvrosija Metlyského Думки і пісні та ще дещо Myšlienky, piesne a ešte niečo (Charkov 1839). V umeleckom podaní témy národného obrodenia sú zistené spoločné znaky a zároveň aj podstatné rozdiely v prístupe oboch spisovateľov: kým Kollár mal na mysli obrodenie Slovákov i Čechov v širšom kruhu slovanských národov, napĺňajúc ideu slovanskej vzájomnosti, Ševčenko bol v tejto koncepcii zorientovaný (veľmi pravdepodobne), jej ozveny sú zaznamenané v dedikácii poémy Єретик Kacír a v iných jeho dielach, sužovalo ho predovšetkým trápenie ukrajinského národa, pozbaveného v Cárskom Rusku vlastnej histórie, jazyka, kultúry a akýchkoľvek národných práv vo všeobecnosti. Získané výsledky poskytnú základ na určenie hraníc pravdepodobného osvojenia si Ševčenkom vedomostí česko-slovenského buditeľa.
The paper sets a goal to find out whether Taras Shevchenko knew particular works of Ján Kollár, to point out possible contacts as well as typological overlaps between the both writers in terms of ...reflecting on national revival and also to draw attention to differences between them. The article combines the methods and techniques of comparative and historical literary studies and comparative and typological literary research. The comparision of the works of the two great Slavic poets has revealed certain interrelations. It confirms that Shevchenko knew the sonnets 267 (in the original) and 75 (in the Russian translation) from Kollár´s poem Slávy dcéra/The Daughter of Slava as published in the collection by Amvrosii Metlynsky Думки і пісні та ще дещо/Thoughts and songs and some other things (Kharkiv 1839). In terms of artistic representation of national revival there are common elements as well as significant differences in the approaches of either writer: while what Kollár had in mind was revival of Slovaks and Czechs in a wider circle of Slavic nations implementing the idea of Pan-Slavism, Shevchenko was (very probably) familiar with this conception, its echos are recorded in the dedication of the poem Єретик/ The Heretic and other of his works, what worried him was mainly the misery of the Ukrainian nation, which was in Imperial Russia deprived of its own history, language, culture and any national rights in general. The gained results provide the basis for establishing the borders of assumed Shevchenko´s adoption of the Czecho-Slovak revivalist´s knowledge.
Прозова спадщина Тараса Шевченка, у якій із певною часткою умовності можна відстежити сліди творчого опрацювання інонаціональних літературних зразків, становить найбільш удячний матеріал для ...порівняльних студій. Польське письменство займає в художньому світі Шевченкових повістей хоч і не провідне, однак доволі важливе місце. На основі вивчення свідчень про коло читання Тараса Шевченка під час заслання доведено можливість його ознайомлення із літературно-критичними публікаціями про повість Юзефа Ігнація Крашевського "Уляна" (1843) в російській періодиці 1850-х років. Розглянуто ймовірність того, що український письменник до арешту 1847 року, крім названої, прочитав також повість "Остап Бондарчук" (1847). Обидва твори згадано в написаній у Новопетровському укріпленні повісті "Прогулка с удовольствием и не без морали" (1855–1858), в якій вони актуалізуються в інтертекстуальному полі альтернативним розвитком подій. Повісті польського письменника логічно вписуються в коло читання персонажа Шевченкового твору – жінки старшого віку зі складною долею, матері поміщика, яка щиро прийняла нещодавню кріпачку в родинне коло, прикипівши до неї серцем. Застосовуючи традиційні методи компаративістики у поєднанні з інтертекстуальним підходом, автор статті з’ясовує смислову насиченість відсилань українського прозаїка до творів свого польського сучасника. Відлуння повісті "Остап Бондарчук" помічено у прозових творах "Близнецы" (1854 або 1855) та "Художник" (1856). У польському інтертексті повісті "Прогулка с удовольствием и не без морали" відзначено вірогідний відгомін твору Крашевського "Майстер Твардовський" (1840). Типологічні паралелі простежуються між повістю "Історія кілка в плоті, за вірогідними джерелами складена й записана" (1860), з одного боку, і Шевченковою повістю "Музыкант" (1854–1855), з другого.
In this article the author focuses on the important problem of reliability of Maria Kozachkovska’s memoirs as recorded by her grandson Andrii Kozachkovskyi Jr. Therefore, the subject of the proposed ...study is the correspondence of memories with verified facts. The goal was to find out the degree of such correspondence. The goal was achieved by application of the traditional methodology of biographical studies, in particular, cross-checking of the presented information based on reliable sources (documentary, memoir, epistolary, etc.). As a result of the study, it was proved that the publication by Andrii Kozachkovsky Jr. contains unreliable statements. Based on his memoirs, the list of Shevchenko's unaccounted-for artworks in the latest Complete Works included false information. As it turned out, Shevchenko could not have painted the wife of Andrii Kozachkovskyi Senior in Pereiaslav in 1845 because they only got married in 1847. The poet did not write the poem “Marusia” dedicated to her. Some other details reported by the memoirist are the result of fictionalizing of vague recollections of his grandmother's stories, supplemented by the information he knew about Shevchenko's stay in Pereiaslav. Andrii Kozachkovskyi Jr. was hardly able to remember and accurately reproduce his grandmother's stories because of his young age: he was 12–13 years old at the time of her death. M. Kozachkovska’s recollections should not be used when writing a new scholarly biography of the poet. Kozachkovskyi Jr.’s recollections of seeing the first edition of Kobzar with Shevchenko’s letters pasted in it at his uncle Ivan’s house, as well as his later story about his 1860 copy of Kobzar with the author's inscription being stolen, do not seem to be reliable. These testimonies would not have any scholarly significance even if they were completely accurate. In the future, the entire corpus of Shevchenko’s unaccounted-for works should be carefully and meticulously reviewed to discard unreliable or dubious information, clearing the artistic heritage of fictional drawings. This should be one of the important tasks of the next academic edition.
The prose output of Taras Shevchenko, in which, with a certain degree of conventionality, one can see traces of creative processing of foreign literary models, constitutes the most rewarding material ...for comparative studies. Polish literature occupies an important place in the artistic world of Shevchenko's stories, though not a leading one. Based on the study of the recollections about Taras Shevchenko's list of readings during his exile, the author proves that Shevchenko read literary and critical publications about Józef Ignatius Kraszewski's novel "Ulana" (1843) in the Russian periodicals in the 1850s. The author also discussed the possibility of Shevchenko reading the novel "Ostap Bondarchuk" (1847), in addition to the abovementioned work. Both literary works are mentioned in Shevchenko's novel "A Walk with Pleasure and not without a Moral" (1855–1858), written in exile in Novopetrovsk in which they are actualized in the intertextual field by an alternative development of events. The stories by the Polish writer logically fit into the reading list of the character of Shevchenko's work - an older woman with a difficult fate, the mother of a landowner who sincerely accepted a recent serf into her family circle, having become attached to her with all her heart. Applying traditional methods of comparative studies in combination with intertextual approaches, the author investigates the semantic richness of references of the Ukrainian prose writer to the works by his Polish contemporary. The echoes of the novel "Ostap Bondarczuk" are noticeable in Shevchenko's prose works "Twins" (1854 or 1855) and "The Artist" (1856). In the Polish intertext of "A Walk…" the author points out to the likely echo of Kraszewski's work "Master Twardowski" (1840). The typological parallels can be traced between Kraszewski's "The History of a Thorn in the Flesh, Compiled and Written Down According to Verified Sources" (1860) and Shevchenko's short novel "The Musician" (1854–1855).
