Chapter XI: 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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+Maksimovytch, M.+--_Detto_, reprinted by him, 1828; _Ukrainskia
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+Maksymovich+--_Kriticheskiy Rozbor_ “Slova,” in “Sobranie Sochineniy,”
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+Malynka, A.+--_Prokop Chub, Perekhodniy Typ Kobzaria, “Etnograph.
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+Rudchenko+--_Chumatskia Narodnia Piesni_, Kiev, 1874.

+Rusov, Alexander+; +Chubynsky, Paul+--_Dumy i Piesni Ispolnennya
Veresayem, v “Zapiskakh Yugozapadnago Otdiela Imperat. Ross.
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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
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+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
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1904.

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Kharkiv, 1833-8.

+Sumtsow, M.+--_Kolomiyki_, “Kievskaya Starina,” 1886.

+Sumtsow, M.+--_Sovremennaya Malorusskaya Ethnografia_ (Contemporary
Little Russian Ethnography), Kiev, 1893-1897.

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+Svientsitsky, Ilar+--_Pokhoronne Holosinnie i Tserkovno Religiyna
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Ukr. Scientific Society of Shevchenko,” XCIII-IV, 1910.

+Tkachenko-Petrenko, E.+--_Dumy v Izdaniyakh i
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1907, p. 144-185.

+Tomachynsky, V.+--Kievsky Telegraf, No. 59, 1872.

+Trutowsky+--_Sobranie Russkikh Piesien s Notami_ (Collection with
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Moscow, 1827.

+Tsertelev, M. A.+--_Opyt Sobrania Starynnykh Malorossiyskikh
Piesniey_, (Review of Collection of Ancient Little Russian Songs),
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+Tykhovsky, Jul.+--_Prozoyu ili Stikhami Napisano “Slovo o Polku
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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”.