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התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
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Oh, do not go, Hrytsya, and on the evening-Ukrainian folk song of the middle of XVII century. Authorship belongs to the semilegendar poet and singer Marusa Churai. There are several tunes on this text. The most famous of these melodies first appears in the opera "Cossack Element" (1812), musicto which was written by Katterino Kavos.
"Oh don't go, Hrytsya, and on the evening"-Ukrainian film of 1978, adaptation of the play of the same name by Mikhail Staritsky.
Caterino Albertovich Kavos (born Catarino Camillo Kavos, Italian. Catarino Camillo Cavos; October 30, 1775( April 28 (May 10) 1840, St. Petersburgis an Italian and Russian composer, conductor, organist and vocal educator. He played a prominent role in the development of Russian culture.
Semen Klimovsky. Ukrainian philosopher, poet, Cossack of Kharkiv regiment. The author of the song "Cossack rode beyond the Danube". He was born at the turn of XVII and XVIII centuries. He died in pryputni village of Yelysavetgrad district of Kherson province (near the modern village of Moshorinein Znamyansky district in Kirovohrad region) at the turn of XVIII and XIX centuries. The exact date of birth and death is unknown.
"Cossack drove for the Danube"-Ukrainian romance, written by the Cossack Kharkov regiment,philosopher, poet Semyon Klimovsky. The song has been popular since at least the middle of the 18th century. The plot of the work should hardly be tied to some historical event. Although some researchers note the possibility that the song was written by the Cossack of the Kharkov regiment as an impression of the unsuccessful Turkish campaigns of Peter I, the first of which took place in 1710, around the time of the song's creation. The hero does not promise to return in three years. Quite accurately, the duration of all those trips is defined. It is three years of brutal military action. However, the number three may simply be a symbol, in Ukrainians it has always had sacred meaning. And the "Danube" itself in the folk tradition often symbolizes simply the river. The motive of separation of the Cossack with his girlfriend, the figurative mood of the song, the nature of the melody give reason to call it romance.
Every folk song is composed over the years-of course, someone first creates the basis of the plot, and then over the years or even centuries the performers submit something of their own to it, or throw something or change something...Thus, the song is in many versions, and the name of the person who created the song is forever forgotten. But there are exceptions-when the talent of a folk songwriter is so great that people remember the author. And although the song becomes truly folk, the name of its creator lives in time as his immortal works live. Such was the poet and songwriter from Poltava Marussa Churai. The girl who became a legend...And now there is controversy among folklorists: did Marusa Churai really exist, or is it just a work of folk imagination, a generalized perfect young image? Marusya's biography is in several versions. It is known that she was born in the family of Gordiy Churya-a glorious and honest Cossack who died in Warsaw. The daughter of the legendary father, she herself soon became a legend-thanks to her songs, her talent, her spiritual beauty. In love with Hryts Bobrenko, Marusia dreams of family happiness, but Gritsy betrays her, obeying his mother, marries another. Then Marussa decides to take revenge on her beloved...After the death of Hrytsya she was given a death sentence, but the order of the hetman himself saves her. Marussa herself dies soon, according to various information-whether from the dead end or in one of the monasteries, where the girl, broken morally, went to farewell. Marusi's life is interrupted in the early 50's, that is, fate measured her about twenty-five years.
The song "Oh do not go Gritsi" was written by Marusya Churai, this song tells the story of her life. Marusya Churai loved one Cossack named Hryts and this Cossack poisoned. As you know in the summer of 1652 Poltava court sentenced Marusa to death. Marusa Churai in court claimed that she cooked the poison herself and Cossack Hryts accidentally drank it. The song she wrote is a kind of confession, it turns out she really poisoned the Cossack Hryts. Bogdan Khmelnitsky by his decree in honor of her father Cossack Gordiy Churai who was executed in Warsaw Poles pardoned Marusya Churai. Hetman's decree had the following text: "In the mind, no one loses, whom he sincerely loves. So, it is not necessary to punish crazy, and therefore I order: to count the head of poltava government gordii Churiy, cut off by our enemies, for the sake of wonderful songs that she composed them. In the future, without my order, death sentences cannot be carried out. Marushu Churai from custody to be released.
Caterino Kavos's opera "Cossack Poem". KAZAK-SMOEVOVETS-anecdotal opera-vodeville K. Kavos in 1 d., libretto by A. Shakhovsky. Premiere: St. Petersburg, New Theatre (Kushelevsky), by pupils of the Theatre School, May 15, 1812. The action takes place in Ukraine. The events are timed to the Battle of Poltava. The first staging of vaudeville took place shortly before the outbreak of the Patriotic War, when the inevitability of military confrontation between France and Russia was clear to all. Shakhovskaya introduced into the text memories of the defeat of Charles XII, which were later perceived in the light of the events of the Patriotic War of 1812 Sentimental-sensitive images of Marusi and Klimovsky, caricature figures of The Thousand Prudius and the scribe Gritsko met the tastes of the audience. Kavos's score is a successful arrangement of Ukrainian folk songs: sincere elegiac ("Khav Kozak for the Danube"), chanting ("Hey tee, divina, tee my heart"), comic, dancing, as well as authentic examples of music of the time of Peter I. During the production, The pseudo-Ukrainian text of Shakhovsky was corrected by the actors. The brightest performer of the role of Gritsko was Shchepkin, who first played it during the years of serf captivity in Poltava, and then in Kharkiv. The artist did not part with this role, making it purely Gogol humor, and in adulthood, already in the Small Theatre. "Cossack-poet" has a significant place in the history of Ukrainian and Russian theater. I. Kotlyarevsky created the immortal "Natalka Poltavka", polemically using the situations of Shahovsky's play.
Вісник Львівського університету, Домашня сторінка > № 27 (1999) > ДАХ, LITERARY LIFE OF THE FOLK BALLAD "OH, DON'T GO, HRYTSIA". THE PROBLEM OF LITERARYIZATION OF THE PLOT AND GENRE, Martha DAH, SUMMARY, The theme of love and betrayal is eternal. Unrequited love is always a human tragedy. Maybe that's why such a popular ballad "Oh, don't go, Hrytsia", in which a girl poisons her lover for loving two, not wanting to give him to his rival. Similar plots are known in other nations (Hercules and Deianira, Tristan and Isolde, etc.). The authorship of the ballad "Oh, don't go, Hrytsia" is attributed to Marusya Churai, a legendary Ukrainian songwriter of the mid-17th century, who considers this song autobiographical. In the last century there were discussions: Marusya Churai - is it history or legend? And most recently L. Kaufman argued that Marusya Churai existed, and G. Nudha denied him, claiming that such a figure did not exist, considered it a literary legend, created by A. Shakhovskaya. There is no documentary information about this girl, no folklore stories have been recorded, she is a kind of symbol, the personification of the Ukrainian woman - the creator of folk poetry. For two centuries, the ballad about Hryts's poisoning underwent many literary adaptations in various genres - the literary ballad "Borovykovsky's The Sorceress", T.Shevchenko, "Rozmay" by S. Rudansky, drama "Chary" by K. Topoli, "Marusya Churai" by G. Borakovsky, "Oh, don't go, Hrytsia, and at the party" by M. Starytsky), dramatic poem "Churaivna "V. Samylenko," Marina Churai "by I. Khomenko," Girl from the Legend "by L. Zabashta), novels (" On Sunday Early Potion Digged "by O. Kobylyanska), historical novel in verse (" Marusya Churai "by Lina Kostenko).Early on Sunday, the potion dug "O. Kobylyanska", a historical novel in verse ("Marusya Churai" by Lina Kostenko).Early on Sunday, the potion dug up "O. Kobylyanska", a historical novel in verse ("Marusya Churai" by Lina Kostenko).
CHURAY Marusya is a mythical poetess-singer, who allegedly lived in Poltava in the middle. 17 st. She is credited with the authorship of the people. songs "Oh, don't go, Hrytsia, and at the party" and others. Literary intelligence (G. Nudha) proved that Ch. Is a character in the novel Ros. writer's book O. Shakhovsky's "Marusya, Little Russian Sappho" (1837), and her biography - later. hoax. The image of Ch. Is widely used in Ukrainian. literature and art. History. sources with references to Ch. are not known.
https://www-religion-in-ua.translate.goog/zmi/ukrainian_zmi/39227-russkaya-bereginya-kak-pridumali-marusyu-churaj.html?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///March 21, 2018 Kirill Galushko, Candidate of Historical Sciences Ukrainian///Russian Bereginya. How Marusya Churai was invented///Folk fantasy has no limits and does not hesitate to invent "fantasies" of ancestors///Hello, fighter of the historical front! Let's digress for a while from the Russian-Ukrainian and Ukrainian-Polish (and other) external historical battles. Let us turn to domestic mythology, which is always useful for a historical fighter. To warm up on your field.///Ukrainian life shows the age-old people's tendency to mythologize the past, not particularly paying attention to academic science. With the latter, everything has long been clear to citizens, since "history is being rewritten all the time." Since they rewrite all the time, it means they are lying initially. And if some of the favorite patriotic myths are questioned, then either the scientist is not a patriot of his native country, or even worse, he is an agent of Moscow. Well, or there Warsaw. Or Washington.///And here they will fight for fiction to the last, instead of reading a couple of books and finding much more real events or figures that are worthy of the people's memory, but so far, alas, they have not "registered" in it. Sometimes there is even mythology "squared": myths about our myths. For example, since Slavic pre-Christian mythology existed, we must open it and make it public. But there is a problem - we know practically nothing about its content. Even the functions of the famous gods of the pagan pantheon are rather reconstructed by us. But these gods are at least listed in an ancient source. However, the fantasy of the people has no limits and begins not only to fantasize, but also to invent the "fantasies" of their ancestors.///Then comes the process of spreading and legitimizing the myth. This is very similar to the process of money laundering: when finances pass through several hands, their origin is lost. But the finances remain. A striking example is Bereginya. All Ukrainians know that this is a pre-Christian female deity who "protected" everyone, especially the family hearth and offspring. The word is beautiful, the image is bright and, most importantly, pleasant to everyone, because everyone has families, children. Therefore, now every woman-mother in our country is Bereginya. But there is one misfortune... Even 30 years ago, not a single researcher of Ukrainian folklore had ever heard of Beregyn. And the folklore was collected by all our great Ukrainian patriots for 200 years. And not a word about Beregin. Lesya Ukrainka did not describe any "mythological potions", but for some reason Beregini did not. There is a mysterious One who rowed the ditch,///Interestingly, Bereginya is still mentioned in folklore. But only not in Ukraine, but in the Novgorod region. Like a river mermaid living under the shore. Why the name. But in essence, such a devilish creature ... This character was completely unknown about the function of "protecting" something.///And the whole thing is rooted in the work of romantic Ukrainian writers of the 1990s. Since the cat wept for information about historical paganism, we had to invent it. And we must admit that the image of Beregini immediately fell easily on the soul of our compatriots. Like poured. With the feeling that it was as if we almost knew about her, because there could not be Beregini.///The legitimation of a myth goes like this. The writer composed images and told everyone that it was the old people who told him in his native village. Then he came to his native village, talked about Beregin, gave books, old people read and began to talk further. Transfer "primordial ancient knowledge". Then one strange man decided to come to the native village of the writer and find those old people. Found. He asked: how do you know about Bereginya? And they answer: so our writer told! And he came from Kyiv, and there scientists know everything. And so Bereginya went to the people.///The craving for paganism in our country is ineradicable and at the same time exists with the fact that Orthodox Ukrainians are among the most Orthodox. The ROC has almost the same number of parishes in Russia and Ukraine. And in Ukraine there is still the Kyiv Patriarchate and the UAOC. So everyone is such a Christian that there is nowhere else to go. But paganism and magic are steadily making their way through Christian doctrine. Here, a Cossack is like a Christian knight, and at the same time they sincerely believe in the existence of Cossacks-characterists, whose properties are clearly knocked out of the abilities of faithful Christians. Cossacks-characterists existed as a concept, but modern studies (in particular, Sergei Shamenkov) show that the character (and from this - the characterist) was called the devil's mark, and this person committed all sorts of crimes of a terrible nature. Let us clarify that there is no historical evidence that the Kharakterniki fought for the Ukrainian people somewhere. Only robbers and sadists are known. But the people liked the myth of the characterists, moreover, "Christian".///Another version of Beregini is the Slavic goddess of fate and fertility Mokosh. She was revered for centuries, and under Christianity she turned into Paraskeva-Friday. Let us clarify that it is known about Mokosh that she was (as far as it is possible for gods and goddesses), but what her functions consisted of is a mystery///Historian and anthropologist Yulia Buyskikh writes: “It is important to understand that there is not a single sufficiently complete and, most importantly, “our internal” source that would represent the pagan tradition itself and which could be recognized as a completely reliable and adequate reproduction of its content. Medieval the written sources created already in the times of Christian Rus' (mainly by anonymous authors - scribe monks) do not contain any information about Mokosh (Mokosh, Makosh) before its inclusion in the so-called pantheon of Vladimir. The pantheon of Vladimir, according to the chronicle, was an attempt to create a common for all the lands subject to the prince, a pagan pantheon in 980. It included: Perun, Khors, Dazhdbog, Stribog, Semargl, Mokosh.But this step turned out to be a short-lived and temporary solution, because in 988-989.Vladimir Svyatoslavovich accepts Christianity as the official state religion.///The female deity Mokosh is known precisely because of the references to the pantheon of Vladimir. These mentions are contained mainly in the Lavrentiev Chronicle of the Tale of Bygone Years and its separate lists. A more or less objective certainty in the feminine nature of this deity is based on a linguistic analysis of these references. In addition, Mokosh is mentioned once in an apologetic Christian monument of the 12th century. "The Word about idols" is on a par with other pagan deities. There are no other sources about the "Old Slavic goddess Mokosh", including her visual image, functions, place of residence, veneration ."///It is quite understandable that interest in Slavic mythology began with attempts to "reconstruct" the pagan pantheon of higher deities, information about which was taken primarily from medieval written sources: the works of Byzantine authors, travel notes, historical chronicles and annals, church teachings. When did the Slavic scholars of the early 19th century (who, as a rule, came from aristocratic families and had behind them the baggage of a classical university education and a conscious desire to "discover ancient Slavic mythology to the world") began to turn to contemporary folklore and ethnographic materials, it turned out that, in fact, there are no gods there. The desire to recreate a pagan pantheon, similar, at least, to the ancient Greco-Roman, faced a frank lack of information.///As the same Yulia Buyskikh writes, "folklore and ethnographic materials of the 19th - early 20th centuries do not contain any hints of "higher" deities. They are only directly related to peasant everyday belief in creatures close to people both in origin and in appearance and functions - witches, mermaids, ghouls, the "walking" dead, devils, etc., which later folklorists and ethnographers structured into the system of the so-called "lower mythology".///Romantic scholars (this is what the generation of Slavic discoverers was called thanks to the then European intellectual fashion) were captured by the noble desire to describe Slavic mythology by analogy with the detailed ancient one and to make their own, domestic mythology look no worse, if not better, than classical traditions. So we started writing...///It is interesting that the armchair myth about the ancient Slavic goddess Mokosh, who "preserved" almost to this day in Ukrainian folklore in the form of Pyatnitsa, is distributed mainly among various currents of neo-paganism and in pseudo-scientific literature. For example, "Lada, Dana, Rozhanitsa, Dolya, Mokosh, Beregynya, Friday (Priya), Pokrova are images of the ancient religion of Ukrainians. And they come from the same ancestral source: the Mother Goddess - intercessor of the family, motherhood, fertility, prosperity" (G Lozko). The writer S. Plachinda generally copied in his works the hypotheses about the paganism of the Slavs, criticized by serious academic science, and also "deciphered" the name "Mokosh" as Mother Kosh, understanding by this that in the era of matriarchy "people lived in kosh, clan, family and ruled there woman". Scholars consider these fantasies to be purely fantasies. You never know what words names are similar to. We know that Galilee is Galicia, right? And the words are similar, and old people remember.///But those are gods and goddesses. And there are other "folklore characters" that simply had to exist in reality. For example, Marusya Churai. This is an artistic image, not a real person. I'm not saying it definitely didn't exist. It's just that there are no sources yet that would prove the opposite.///Who is Marusya? At the same time, a lyrical and tragic heroine, she is included in the list of the most famous women of ancient and modern Ukraine. Her story, in one form or another, was played out in works of art. What was and how the young poetess lived - "Little Russian Sappho", who is credited with the authorship of such famous songs as "Oh, don't go, Gritsu, that one at the party", "Gritsu, Gritsu, to the robot", "The Kozachens have risen to light" ( in total, according to various sources, about 30)?///Wikipedia tells us that Marusya lived in the 17th century. in Poltava that her father was a Cossack centurion Gordy Churai, there is information about the years of life and the details of unhappy love ... Surprisingly. So much information about a girl, even a very talented one, who lived almost four centuries ago, loved, but did not get married, wanted to poison herself, and the hero of her novel poisoned herself. Ivan Iskra, hopelessly in love, told her story to Bogdan Khmelnitsky, who personally pardoned Marusya, who had been sentenced to death. On what historical sources is such a detailed biography based?///Reliable historical sources confirming the existence of Marousi Churai have not been found to date. Instead, there are many details about how many documents there were concerning Marusya's history... But that's bad luck: they all burned down in the Poltava fire of 1658. There also seemed to be something in the archive of Kvitka-Osnovyanenko, but also not preserved. In the middle of the twentieth century. in the Central Scientific Library of the Academy of Sciences of the Ukrainian SSR (now the NBU named after V. Vernadsky), a document was allegedly found, very suitable for the story of Marusya, but as it was found, it disappeared into the funds. In the 60s of the XX century. Ukrainian literary critic and folklorist Grigory Nudga became interested in this amazing story. Taking the song "Oh, don't go, Gritsya" as the source of the legend about Marus, he established that the song was first published at the beginning of the 19th century. in Moscow. Then the song was considered folk. Her plot was processed for the theater - a play by Cyril Topoli///"Enchantment" (1837). In 1839, Prince Alexander Shakhovskoy wrote the story "Marusya, Little Russian Sappho." The plot of the story was reminiscent of both "Enchantment" and a song about Grits. It was in this story that a heroine named Marusya Churai appeared.///According to the fashion of that time, there were many folk songs in the story, and according to the plot, the main character, Marusya, composed them. In 1876, the operetta "Oh, don't go, Gritsu ..." by V. S. Aleksandrov with the heroine Marusya was released. The novelist Alexander Shklyarevsky continued the creation of the myth, publishing in 1877-1878. in the magazine "Pchela" a biographical essay "Marusya Churai, a Little Russian singer". Having replayed A. Shakhovsky's story in a new way, emphasizing that all the songs are based on Marusya's personal experiences, he formalized the integrity of the image. S. Rudansky, M. Staritsky, V. Samyilenko, M. Kropivnitsky, G. Borakovsky, O. Kobylyanskaya, I. Khomenko, Lina Kostenko - this is not a complete list of authors whose works mention Marusya Churai. So it turned out that, moving from work to work, her image became more and more alive, real. This "biography" of Marusya was beautifully written out by the Kyiv historian Yakov Gordienko in the book "Errare humanum est: Draw from Ukrainian Primary Studies".///And now it is clear that such a person simply could not exist in real life. When this is proven, I will be one of the first to rejoice, but so far the Ukrainians are showing that in order to create powerful myths, one does not need to live in "mythological times" at all.///Kirill Galushko , candidate of historical sciences, publicist///Dsnews.ua.
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