ПЕТРО САГАЙДАЧНИЙ ТА БОГДАН РУЖИНСЬКИЙ: ІНТЕРТЕКСТУАЛЬНІ ЗВ’ЯЗКИ ПОЕМИ «CZAJKI» ТА ПОЕМИ-ЕПОПЕЇ «ZŁO TADUMA» БОГДАНА ЮЗЕФА ЗАЛЕСЬКОГО

Abstract

The article describes the phenomenon of auto-intertext in the poetry of the second period of famous Polish romanticism poet Bohdan Zaleski. In particular, the role and nature of the mentions of Petro Konashevych-Sahaidachnyi and representatives of the Różyński family in the epic poem «Złota Duma» (or its excerpt «Monaster Trechtymirowski») and the poem «Czajki» are considered. The study of the poem « Czajki « reveals new examples of mythologizing hetman Sahaidachnyi, such as the concentration of several historical facts from different times into one event, the selection of episodes of history in accordance with ideology, and the glorification of a person. The poet suggested the recognition of Sahaidachnyi’s authority in Poland as well. The image of Sahaidachnyi developed later in the «Złota Duma», which is discussed in the previous study. The repetition of the ideas of the Ukrainian-Polish alliance in the poem confirmed the theory about the rational, and not the artistic, nature of the use of figures of Ukrainian history in the so-called «golden era» of relations between the two nations. The introduction of the Różyński family as an influential representative of the Ukrainian-Polish nobility, probably familiar to Sahaidachnyi, served as a justification for the idea of successful Ukrainian-Polish cooperation, an argument in favor of finding positive aspects of the neighborhood instead of focusing on tragedies. The attempt to build a positive image of a Ukrainian-Cossack-noble for the mutually beneficial salvation of his state, which was to grow into an inter-Slavic union, guided Zaleski in a greater extent than the desire to find an explanation for the failures that led to Poland’s loss of statehood. In the work on both poems, Zaleski worked on the same characters – Sahaidachnyi and two generations of Różyński’s – which, however, did not indicate that the poet’s horizons were limited. The phenomenon of auto-intertextuality emerging from this comes from Zalesky’s focus on the times of the most favorable climate of relations between the Ukrainian and Polish peoples. We assume that the technique was applied deliberately not only within the framework of the developed micro-theme, but also out of a desire to develop a fictional microuniverse based on historicism, to pour out a vision of a successful future for Ukrainians and Poles in an epic poem, wanting to match the genius of the greatest figure of Polish romanticism – A. Mickiewicz.