Yanka Kupala

    Дисциплина: Русский язык и литература
    Тип работы: Доклад
    Тема: 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.
    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
    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.
    Shevehenko\'s Kobzar was one of the books Kupala read in his youth. Later, the Byelorussian poet admitted that this book became that stimulus which stirred him to creative
    awakening, to becoming aware of himself as a son of an oppressed nation.
    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 Russia...

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