Yanka Kupala . Доклад. Литература.
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YANKA KUPALA
Kupala is the pen name of the outstanding Byelorussian poet,
Ivan Lulsevich. According to folk legends, the short July night of Ivan Kupala
(St. John the Baptist) - a very popular Slavic holiday -is when fern begins to
bloom in the thick of the forest. This herb is believed to possess some magic
power. He who finds it and tears away its flower shall forever be happy....
The son of a landless Byelorussian peasant, Dominik
Lutsevich, Ivan (or simply Yanka) sought the legendary'flower of happiness not
in the thick of the forest but in the depths of human life. Not for himself,
but for his downtrodden people who for centuries had been destined to bear the
unbearable yoke of national and social oppression.
For the first time, the name of Yanka Kupala appeared on
May 15, 1905, in the newspaper Severo-Zapadny Krai (The North-Western
Land), under his poem A Muzhik. Both the period and the circumstances
surrounding his poetic debut seem unusual and significant, as tokens of the
future ascend, above the horizon of Byelorussian and world culture, of not
simply another literary star, but of a whole galaxy. Together with Kupala, or
thanks to him, such extraordinarily endowed personalities as Tsiotka, Maxim
Bogdanovich and Yakub Kolas emerged. However, Yanka Kupala was the first,
the founder of a new Byelorussian literature, its architect and constructor. He
was that trailblazer which is found in the culture of every nation, as Pushkin
was in Russian culture, Shevchenko in Ukrainian, Mickiewicz in Polish, and so
on.
The special place which Kupala occupies in Byelorussian
literature may be determined from the words of Yakub Kolas, his distinguished
contemporary; "Differences in genre notwithstanding, the creations of
Yanka Kupala seem to me as a single book, even as one song glorifying the work
of the people.
"Half of this song is angry and sad -these are the
works of the pre-October period, when the poet used his inspired verse to place
himself, courageously and selflessly, in the camp of those fighting for the
social and national liberation of their people.
"The second half is cheerful, permeated with the
enthusiasm of creativeness. It belongs to the period when the Byelorussian
people achieved their statehood and, guided by cxoerienced leaders, embarked
upon the road leading to socialism and, further, to communism."
Kupala launched Byelorussian literature to high
world-embracing orbits, treeing it from the triteness of unimaginativeness,
stylishness and bookishness. His civic determination and ardent enthusiasm of
an innovatr gave birth to new ideas and, more importantly, to new poetic forms,
genres, rhythms andones, ll marked by finesse and stylistic flair.
Yanka
Kupala
However, Kupala's major contribution to literature in the
period before 19l7 was his voice of social protest. In his poem The Song of
a Free Man, he openly calls on the people wage a struggle. Czarist censors
qualified it as "antiState," since, reading it, "one cannot but
notice an open encouragement of obviously rebellious actions."
His humane verse, his "love of the sun" ("I
bow to the Earth and the Sun, / I'm a son of the Earth, a free son of the
Sun.") brought him close to his great contemporaries like Maxim Gorky,
Ivan Franko and Lesya Ukrainka.
After the October Revolution, the poet envisioned his
nation liberated, free from its social and national shackles. In place of zhaleika
folk songs of grief, the poet, with trumpet in hand, urges his kin toward
building a new life.
Living for twenty years under Soviet rule proved an
important landmark on the poet's road toward creative accomplishment. This
period dictated new poetic themes, ideas and images.
One by one, his collections of verse were published, having
their effect on extensive reading circles. His works were translated into other
languages -particularly into Russian which made Yanka Kupala known
internationally.
In his verse after the Revolution, his lyrical hero seems
to merge with the masses, reaching that supreme unity of which Pavlo Tychyna, a
celebrated Soviet Ukrainian poet, once said, "I'm the people." At the
same time, Yanka Kupala paid much attention to the individuality of his characters,
thus asserting the impetuous progress of the personality and the richness of
the soul of the people, as revealed in the new social epoch.
The bard of rejuvenated Byelorussia, Kupala was amongst the
first to lay golden bridges between his and other nations. In 1921, he
translated into Byelorussian The Internationale and The Lay of the Host
oflgor. He was an internationalist poet. As an admirer of Pushkin,
Shevcheriko, Mickiewicz and Slowacki, as a keen interpreter of the Indian epic Mahabharata
and the Armenian David Sasunski. the Byelorussian poet glorified
brotherhood of nations and literatures in The Ukraine, Georgia, To Djambul,
To Shining Shota Rustaveli, On the Memory of Suleiman Stalski.
When the Soviet country was invaded by the Nazi hordes, the
poet raised his wrathful voice at the All-Slavic Assembly in Moscow. Together
with outstanding Ukrainian cultural figures Maxym Rylsky and Olexander
Dovzhenko, he signed The Appeal to Brother Slavs.
Yanka Kupala was bound to the Ukraine and her literature by
ties of unbreakable, fraternal affection. Ukrainian themes, national coloration
and Ukrainian folk images are found in such works as Am I a Cossack?, I Saw
It. Bondarivna, etc.
In 1909, Yanka Kupala wrote two poems The Memory of
Shevchenko (February 25. 1909) and Shevchenko's Memory - which started the
Byelorussian Shevchenkiana poetic series. In the first of these
impassioned creative tributes, the Byelorussian bard acknowledges the truly
boundless influence of the Kobzar's revolutionary Muse on vast social strata
and expresses heartfelt admiration of this impact as a son of the Byelorussian
people:
In the north, in the south,
in the east, In the west, where the sun sets, The
Kobzar plucks the strings of human souls. In a cabin, a palace, a prison
cell, a tavern, He stirs hearts as a warden does with his bells.
"His verse reaches us
every time, We listen happily to our neighbor, We add our flowers to his
garland. Brother, dear, Byelorussians salute you"
This motif is stressed even more in the second poem.
Kupala refers to the Kobzar as the father of not only Ukrainians but also
Byelorussians.
Shevchenko's image prompted Kupala to write the epic
poem The Fate ofTaras. It turned out as a kind
of life story of the great Ukrainian bard, full of charming lyricism, a soft
poetic narration.
The meter of The Fate of
Taras is characteristic of Shevchenko's kolomiyka - a lively Western
Ukrainian folk song or dance. Maxim Gorky, the great Russian author, noted at
one time that he knew of no other poet, except Yanka Kupala, who had so completely
and profoundly utilized the Kobzar's creative principles.
Early in his poetic career, Yanka Kupala translated A
Thought, To Gogol and other work5 of Shevchenko. In the post-October
period, Kupala edited his earlier translations of Shevchenko and began to work
on others with great enthusiasm. His pen lent new splendor to such poems as A
Dream. My Testament, The Caucasus, Kalerina. The Night of Taras and Ivan
Pidkova, In fact, most of Kupala's translations of Shevchenko served as the
basis of the first complete Byelorussian version of Kobzar which he
edited.
In 1939, Byelorussia celebrated Shevchenko's 125th birth
anniversary, together with the rest of the country. Yanka Kupala appeared with
a number of speeches and articles, dedicated to the occasion.
In the 1930's and 1940's, Kupala often visited the Ukraine.
He readily admitted, "I love Ukrainian literature - perhaps, more than any
other. Needless to say, Shevchenko remains my number one Ukrainian poet. Of
modem poets, Pavlo Tychyna takes first place.....". His personal contacts
with Ukrainian literati contributed fruitfully to the enhancement of unity
between Byelorussian and Ukrainian literature. One of the first Byelorussian
academicians, Kupala was voted a member of the Academy of Sciences of the
Ukrainian SSR. To this end, one is reminded of Maxym Rylsky who said, "I
don't exaggerate when I say that, to Yanka Kupala, the Ukraine was like a
second homeland."
Beginning in the 1900's, his name appeared in the,
Ukrainian reading circles. A prominent Ukrainian Slavist, Ilarion Sventsitsky,
included Kupala's Why Do You Sleep? and There, in the language of the
original, into his book The Renaissance of Byelorussian Literature
(1908). He kept in touch with the poet who supplied him with his books and manuscripts.
Much was also done to popularize Yanka Kupala by Tsiotka (lit.. Auntie, pen
name of Aloiza Pashkevich, a prominent Byelorussian revolutionary poetess) who
spent some time in Lviv.
Maxim Gorky sent Mikhailo Kotsyubynsky his translation of
Kupala's And Who Goes There together with the notes, pointing out that
"this Byelorussian hymn" had excited him tremendously. In 1916, this
poem was recited, in Byelorussian, at a poetry evening in Poltava. According to
those present, it made a great impression.
Many of Kupala's books were printed dozens of times in the
Ukraine. A number of leading Ukrainian men of letters contributed their
translations of the poet and dedicated to him their own verse. The
unforgettable Maxym Rylsky perhaps most eloquently presented the image of his
Byelorussian counterpart. He wrote a poetic triptych, entitled To Yanka
Kupala, For Yanka Kupata and Yanka Kupala. The last of the three has
the following lines:
He was the knight of a lofty dream And fought what was
false and sly. He cut a precious stone
of the Byelorussian tongue, Working on it with so much
loving care. He was a wonder himself. Held in esteem by the nations of kin,
Just like Shevchenko was held. He taught us to respect A pair of able hands the
best. Down in history our Yanka went, As ever alive as the image, with wings,
Of his Byelorussian land."
The first rays of the hot July sun illuminate a sizable
spot of land not far from a log house in the village of Vyazintsi where a
child, christened Yanka, was bom almost one hundred years ago. It is here that
the traditional Kupala festivals of poetry are held, attracting people from
neighboring towns and villages and from the Byelorussian capital. Yanka Kupala
created an imposing poetic image of his people, revealing for all to see the
wealth of their soul in his verse , epic, publicistic and epistle writings and
plays.
By tradition, the General Assemblies of the UN are attended
by celebrated Byelorussian men of letters as members of delegations of the
Byelorussian SSR. All of these have, at one time or another, been able to visit
Arrow Park to place flowers at the foot of the monument to their famous
countryman which proudly stands beside the monuments to Taras Shevchenko,
Alexander Pushkin and Walt Whitman. The song of the Byelorussian lyre is heard
amidst the swishing of the ocean surf, the rustling of copper-red maples. In
the poet's staring eyes, one can discern the glimmering reflection of an ever-flaming
torch. That torch gives the eerie light of the Kupala night, the light
recaptured from the sinister darkness of the night. That torch is being raised
high over the bearer's head, so it can be seen by all who are determined to be
"called human."
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