Izzy new web site - בנדוריסט אשריךָ רֵע - Бандуристе орле сизий

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בנדוריסט אשריךָ רֵע - Бандуристе орле сизий

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Бандуристе орле сизий-בנדוריסט אשריךָ רֵע

שיר אוקראיני-מילים: טאראס גריגורוביץ' שאבצ'אנקו-עברית: אנטון פפרני-ניקוד: נילי בן יחזקאל-לחן: שיר עם אוקראיני עממי-שירה: איזי הוד-עיבוד, נגינה, עריכה והקלטה: מאיר רז

בָּנְדוּרִיסְט, אַשְׁרֶיךָ, רֵעַ, עַיִט קַל כְּנָפַיִם! תִּשָּׂאֲךָ שִׁפְעַת הַכֹּחַ, בִּמְעוֹף הַשָּׁמַיִם. תִּשָּׂאֲךָ שִׁפְעַת הַכֹּחַ, בִּמְעוֹף הַשָּׁמַיִם. לְאוּקְרָאִינָה נִישֵּׂאתָ-מְחַכִּים לְךָ בָּהּ, אִם אַמְרִיא אִתְּךָ, בְּרָכָה לִי, מִי יַקְדִּישׁ לְהַבָּא? אִם אַמְרִיא אִתְּךָ, בְּרָכָה לִי, מִי יַקְדִּישׁ לְהַבָּא? רוּחַ פֶּרֶא שָׁר כְּמוֹ רֵע, לִי מֵשִׁיב תּוֹחֶלֶת, שְׂדֵה אֵינְסוֹף שָּׁם מִשְׂתָּרֵעַ, עַד שְׂפַת יָם הַתְּכֵלֶת. שְׂדֵה אֵינְסוֹף שָּׁם מִשְׂתָּרֵעַ, עַד שְׂפַת יָם הַתְּכֵלֶת. עִם אַרְצִי בּוֹכֶה הָיִיתִי, בְּדִמְעָה נִגֶּרֶת, אַךְ בֵּין הַזָּרִים בְּסֵבֶל, כָּאן דַּרְכִּי עוֹבֶרֶת. אַךְ בֵּין הַזָּרִים בְּסֵבֶל, כָּאן דַּרְכִּי עוֹבֶרֶת

Бандуристе, орле сизий-Слова: Тарас Григорович Шевченко-Музика: Народна. Бандуристе, орле сизий! Добре тобі, брате: Маєш крила, маєш силу, Є коли літати. Тепер летиш в Україну-Тебе виглядають. Полетів би за тобою, Та хто привітає. Там повіє буйнесенький, Як брат, заговорить; Там в широкім полі воля; Там синєє море! Полетів би, послухав би, Заплакав би з ними...Та ба, доля приборкала, Меж людьми чужими. 1840

הערות שרשם איזי הוד: טאראס גריגורוביץ' שאבצ'אנקו, הוא משורר לאומי אוקראיני [1814-1861]. שיריו, נלמדים ומושרים עד היום, בכל שכבות הציבור, מגן הילדים ועד הבגרות. רוב שיריו של, שאבצ'אנקו, נכתבו, בתבנית של שירי עם ולא פעם הם מוגדרים בטעות, כשירי עם, מבלי להזכיר את שמו. לכן, שאבצ'אנקו, נחשב למשורר לאומי, אך גם למשורר עממי ולכן שיריו לא נעלמו אי שם בארכיונים, אלא מושרים עד היום. חלק משיריו, הפכו להימנון משני של אוקראינה וקהל המאזינים בהופעות, עומד על רגליו, בעת השמעת השיר. כך למשל הוא השיר, גונח דנייפר, גועה השצף. שאבצ'אנקו, כתב שורה של שירים, שפורשו כשירים אנטישמיים. אך, שאבצ'אנקו כתב גם מאמרי מחאה, נגד מאמרי האנטישמיות, שפורסמו בזמנו בעיתונות השמרנית הקיצונית. את השיר בנדוריסט [נגן הבנדורה-כלי נגינה מייתרי אוקראיני], שנכתב בשנת 1840, הקדיש, שאבצ'אנקו, למיקולה אנדריוביץ' מרקאביץ', היסטוריון, מלחין ומשורר, ששאבצ'אנקו היה מתייעץ בו, בעת כתיבת שיריו ושם השיר הראשון [ששונה אחר כך לשם העכשווי] כשמו של מרקאביץ', מ.א. מרקאביץ'. מרקאביץ עצמו כתב בשנת 1931 שיר בשם, מנגן הבנדורה והשיר היה ההשראה לשירו של שאבצ'אנקו שנכתב בשנת 1840 לכבודו של מרקאביץ' ונקרא היום, בנדוריסט. מרקאביץ, שהיה אף היסטוריון יעץ לשאבצ'אנקו במיוחד בכתיבת הפואמה היידמקים, שהוקדשה לתנועת קוזאקים אוקראינית מרדנית, שכוונה את פעילותה כנגד השלטון הפולני, במאה ה-18. השיר בנדוריסט, נמצא בכרך שיריו הראשון של, טאראס שאבצ'אנקו, שפורסם לראשונה בשנת 1840. היו בו שמונה שירים והספרון כולו נקרא בשם קובזאר, שפרושו המנגן על קובזה. הקובזארים, היו זמרים אוקראינים נודדים, שחיברו את שיריהם, מילים ומנגינות וליוו את עצמם בעת השירה, בפריטה על קובזה [כלי מיתר הדומה ללירה], או, בנדורה [כלי פריטה שחלקו דמוי גיטרה וחלקו דמוי נבל זעיר], בדומה לזמרי בארד. הקובזארים, הופיעו לראשונה, במאה החמש עשרה. בשנת 1844, בהוצאה חדשה של הספרון, נוסף אף השיר, היידמקים. שאבצ'אנקו, ראה עצמו כקובזאר של הספרות האוקראינית והחייה, אכן, מחדש, את השפה האוקראינית, באותה עת

קישור לשיר בשפת המקור

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Бандуристе орле сизий

כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE

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References

Бандуристе орле сизий

התוכן והעיבוד הלשוני אינם סופיים

התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת

The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.

The bandurist-Ukrainian song-Lyrics: Taras Grigorovich Shavchenko-Hebrew: Anton Paperni-Grammar: Nili Ben Yehezkel-Melody: Folk song-Singing: Izzy Hod-Arranging, playing, editing and recording: Meir Raz.

Notes written by Izzy Hod: Taras Grigorievich Shevchenko, is a Ukrainian national poet [1814-1861]. His songs are studied and sung to this day, at all levels of society, from kindergarten to adulthood. Most of Shevchenko's poems were written in the form of folk songs and often they are mistakenly defined as folk songs, without mentioning his name. Therefore, Shevchenko is considered a national poet, but also a popular poet and therefore his poems did not disappear somewhere in the archives, but are sung to this day. Some of his songs have become a secondary anthem of Ukraine and the audience at concerts stands on their feet when the song is played. So, for example, is the song, the Dnieper moans, the overflowing flood. Shevchenko, wrote a series of poems, which were interpreted as anti-Semitic poems. However, Shevchenko also wrote protest articles, against the Semitism articles, which were published at the time in the extreme conservative press. The song Bandurist [Ukrainian bandura player, a strings musical instrument], written in 1840, was dedicated by Shevchenko to Nikolay Andreyevich Markevich, a historian, composer and poet, whom Shevchenko consulted when writing his poems and the name of the first song that Shevchenko wrote [that later was rename by the present name] was, as the name of Markevich, M.A. Markevich. Markevich himself wrote in 1831 a song called, The Bandura Player and the song was the inspiration for Shevchenko's poem written in 1840 in Markevich's honor and called today, Bandurist. Markevich, who was also a historian, advised Shevchenko in particular in writing the poem Hydamaks, dedicated to a rebellious Ukrainian Cossack movement, which directed its activity against the Polish government, in the 18th century. The song Bandurist is found in the first volume of poems by Taras Shevchenko, first published in 1840. There were eight songs in it and the entire book was called Kobzar, which means the player playing the Kobza. The Kobzars were itinerant Ukrainian singers, who composed their own songs, words and melodies and accompanied themselves while singing, with playing the kobza [a stringed instrument similar to a lyre], or a bandura [a stringed instrument that is part guitar-like and part small harp-like], similar to bard singers. The Kobzars, appeared for the first time, in the fifteenth century. In 1844, in a new edition of the book, the poem Hydamaks was also added. Shevchenko, saw himself as the Kobzar of Ukrainian literature and revived, indeed, anew, the Ukrainian language, at that time. Bandura players, were and remain a symbol of pride and the pursuit of freedom from foreigners who have repeatedly conquered and taken over, Ukraine. They were revered by the, Ukrainian, people and persecuted by the occupying foreigners. The literal description of the words of the song is as follows, Dear bandurist, be happy, that you are a proud bandurist and we are proud of you. On a light and powerful eagle, you will be carried to the heights of the sky. it will bring you to, Ukraine, we the people are waiting for you there. I would take off with you to Ukraine but who will take care of those who remain behind. The wild wind brings me your song and brings with it the meaning of your bandurist song. And the singing is heard in the huge fields that touch the azure beach. I weep over my country in tears, as I pass through strangers who have conquered my country and suffer.

Texts from the references

Taras Hryhorovych Shevchenko, (born Feb. 25 [March 9, New Style], 1814, Morintsy, Ukraine, Russian Empire-died Feb. 26 [March 10], 1861, St. Petersburg, Russia), foremost Ukrainian poet of the 19th century and a major figure of the Ukrainian national revival. Born a serf, Shevchenko was freed in 1838 while a student at the St. Petersburg Academy of Art. His first collection of poems, entitled Kobzar (1840; “The Bard”), expressed the historicism and the folkloristic interests of the Ukrainian Romantics, but his poetry soon moved away from nostalgia for Cossack life to a more sombre portrayal of Ukrainian history, particularly in the long poem “The Haidamaks” (1841). When the secret Brotherhood of Saints Cyril and Methodius was suppressed in 1847, Shevchenko was punished by exile and compulsory military service for writing the poems “The Dream,” “The Caucasus,” and “The Epistle,” which satirized the oppression of Ukraine by Russia and prophesied a revolution. Though forbidden to write or paint, Shevchenko clandestinely wrote a few lyric poems during the first years of his exile. He had a revival of creativity after his release in 1857; his later poetry treats historical and moral issues, both Ukrainian and universal.

Taras Shevchenko's writings formed the foundation for the modern Ukrainian literature to a degree that he is also considered the founder of the modern written Ukrainian language (although Ivan Kotlyarevsky pioneered the literary work in what was close to the modern Ukrainian in the end of the 18th century). He was the foremost Ukrainian poet, prose writer, painter and playwright of the 19th century. He was a major figure of the Ukrainian national revival. Taras Shevchenko was a man of universal talent. All his life and creative work were dedicated to the people of Ukraine.

Taras Hryhorovych Shevchenko (Ukrainian: Тарáс Григóрович Шевчéнко) (March 9 [O.S. February 25] 1814 – March 10, [O.S. February 26] 1861) was a Ukrainian poet, artist and humanist. His literary heritage is regarded to be the foundation of modern Ukrainian literature and, to a large extent, the modern Ukrainian language. Shevchenko also wrote in Russian and left many masterpieces as a painter and an illustrator. Life. Born into a serf family in the village of Moryntsi, of Kiev Governorate of the Russian Empire (now in Cherkasy Oblast, Ukraine) Shevchenko was orphaned at the age of eleven. He was taught to read by a village precentor, and loved to draw at every opportunity. Shevchenko went with his Russian aristocrat lord, Pavel Engelhardt, to Vilna (Vilnius, 1828-1831) and then to Saint Petersburg. Engelhardt noticed Shevchenko's artistic talent and apprenticed him in Vilna to Jan Rustem, then in Saint Petersburg to Vasiliy Shiriaev for four years. There he met the Ukrainian artist Ivan Soshenko, who introduced him to other compatriots such as Yevhen Hrebinka and Vasyl Hryhorovych, and to the Russian painter Alexey Venetsianov. Through these men Shevchenko also met the famous painter and professor Karl Briullov, who donated his portrait of the Russian poet Vasily Zhukovsky as a lottery prize; the proceeds were used to buy Shevchenko's freedom on May 5, 1838. First successes. In the same year Shevchenko was accepted as a student into the Academy of Arts in the workshop of Karl Briullov. The next year he became a resident student at the Association for the Encouragement of Artists. At the annual examinations at the Imperial Academy of Arts, Shevchenko was given a Silver Medal for a landscape. In 1840 he again received the Silver Medal, this time for his first oil painting, The Beggar Boy Giving Bread to a Dog. He began writing poetry while he was a serf and in 1840 his first collection of poetry, Kobzar, was published. Ivan Franko, the renowned Ukrainian poet in the generation after Shevchenko, praised the freshness of the compilation: "[Kobzar] immediately revealed, as it were, a new world of poetry. It burst forth like a spring of clear, cold water, and sparkled with a clarity, breadth and elegance of artistic expression not previously known in Ukrainian writing." In 1841, the epic poem Haidamaky was released. In September of 1841, Shevchenko was awarded his third Silver Medal for The Gypsy Fortune Teller. Shevchenko also tried his hand as a playwright. In 1842, he released a part of the tragedy Nykyta Hayday and in 1843 he completed the drama Nazar Stodolya. While residing in Saint Petersburg, Shevchenko made three trips to Ukraine, in 1843, 1845, and 1846. The difficult conditions under which his countrymen lived had a profound impact on the poet-painter. Shevchenko visited his still enserfed siblings and other relatives, met with prominent Ukrainian writers and intellectuals such as: Yevhen Hrebinka, Panteleimon Kulish, and Mykhaylo Maksymovych, and was befriended by the princely Repnin family especially Varvara Repnina. In 1844, distressed by the condition of Ukraine in the Russian Empire, Shevchenko decided to capture some of his homeland's historical ruins and cultural monuments in an album of etchings, which he called Picturesque Ukraine. Exile. On March 22, 1845, the Council of the Academy of Arts granted Shevchenko the title of an artist. He again travelled to Ukraine where he met the historian, Nikolay Kostomarov and other members of the Brotherhood of Saints Cyril and Methodius, a political society dedicated to the political liberalization of the Empire and transforming it into a federation-like polity of Slavic nations. Upon the society's suppression by the authorities, Shevchenko was arrested along with other members on April 5, 1847. Although he probably was not an official member of the Brotherhood, during the search his poem "The Dream" (Сон or "Son") was found. This poem criticized imperial rule, personally attacked Emperor Nicholas I and his wife Alexandra Feodorovna, and thus was considered politically inflammatory; of all the members of the dismantled society Shevchenko was punished most severely. Shevchenko was sent to prison in Saint Petersburg. He was exiled as a private with the Russian military Orenburg garrison at Orsk, near Orenburg, near the Ural Mountains. Tsar Nicholas I, confirming his sentence, added to it, "Under the strictest surveillance, without a right to write or paint." With the exception of some short periods of his exile, the enforcement of the Tsar's ban on his creative work was lax. The poet produced several drawings and sketches as well as writings while serving and traveling on assignment in the Ural regions and areas of modern Kazakhstan. But it was not until 1857 that Shevchenko finally returned from exile after receiving a pardon, though he was not permitted to return to Saint Petersburg but was ordered to Nizhniy Novgorod. In May of 1859, Shevchenko got permission to move to his native Ukraine. He intended to buy a plot of land not far from the village of Pekariv and settle in Ukraine. In July, he was arrested on a charge of blasphemy, but was released and ordered to return to Saint Petersburg. Death of Shevchenko. Taras Shevchenko spent the last years of his life working on new poetry, paintings, and engravings, as well as editing his older works. But after his difficult years in exile his final illness proved too much. Shevchenko died in Saint Petersburg on March 10, 1861, the day after his 47th birthday. He was first buried at the Smolensk Cemetery in Saint Petersburg. However, fulfilling Shevchenko's wish, expressed in his poem Testament" ("Zapovit"), to be buried in Ukraine, his friends arranged to transfer his remains by train to Moscow and then by horse-drawn wagon to his native land. Shevchenko's remains were buried on May 8 on Chernecha Hill (Monk's Hill; now Taras Hill) by the Dnieper River near Kaniv. A tall mound was erected over his grave, now a memorial part of the Kaniv Museum-Preserve. Dogged by terrible misfortune in love and life, the poet died seven days before the Emancipation of Serfs was announced. His works and life are revered by Ukrainians and his impact on Ukrainian literature is immense. Heritage and legacy. Taras Shevchenko has a unique place in Ukrainian cultural history and in world literature. His writings formed the foundation for the modern Ukrainian literature to a degree that he is also considered the founder of the modern written Ukrainian language (although Ivan Kotlyarevsky pioneered the literary work in what was close to modern Ukrainian at the end of the eighteenth century.) Shevchenko's poetry contributed greatly to the growth of Ukrainian national consciousness, and his influence on various facets of Ukrainian intellectual, literary, and national life is still felt to this day. Influenced by Romanticism, Shevchenko managed to find his own manner of poetic expression that encompassed themes and ideas germane to Ukraine and his personal vision of its past and future. In view of his literary importance, the impact of his artistic work is often missed, although his contemporaries valued his artistic work no less, or perhaps even more, than his literary work. A great number of his pictures, drawings and etchings preserved to this day testify to his unique artistic talent. He also experimented with photography and it is little known that Shevchenko may be considered to have pioneered the art of etching in the Russian Empire (in 1860 he was awarded the title of Academician in the Imperial Academy of Arts specifically for his achievements in etching.) His influence on Ukrainian culture was immense, so much so that the Soviets felt the need to appropriate his legacy for their own purposes. During Soviet times, the official position was to downplay strong Ukrainian nationalism expressed in his poetry, suppressing any mention of it, and to put an emphasis on the social and anti-Tsarist aspects, that is, to Class struggle within the Russian Empire. Shevchenko, who himself was born a serf and suffered tremendously for his political views in opposition to the established order of the Empire, was presented in the Soviet times as an internationalist who stood up in general for the plight of the poor classes exploited by the reactionary political regime rather than the vocal proponent of the Ukrainian national idea. This view is significantly revised in modern independent Ukraine, where he is now viewed as almost an iconic figure with unmatched significance for the Ukrainian nation, a view that has been mostly shared all along by the Ukrainian diaspora that has always revered Shevchenko.

Mykola Markevych (Ukrainian: Микола Андрійович Маркевич; Russian: Николай Андреевич Маркевич; 7 February 1804-21 June 1860) was a Ukrainian historian, ethnographer, musician and poet of Ukrainian Cossack descent, who was known as a friend of Alexander Pushkin, Wilhelm Küchelbecker, Anton Delvig and Kondraty Ryleyev. His main work is the History of Little Russia (in 5 vols.), which was published in Moscow between 1842 and 1843. History. Mykola Markevych was born in Dunaiets, Chernigov Governorate, Russian Empire (now located in modern-day Ukraine) on 7 February 1804. He studied at the Saint Petersburg Pedagogical Institute from 1817 to 1820. Then he studied piano and composition in Moscow. He served as an officer in the Russian Imperial army from 1820-1824. Markevych collected many historical materials on Cossack history and Ukrainian folk songs at his estate and around the area of the modern-day central Ukraine. He wrote many works on Little Russian folk customs and beliefs, as well as foods. He also wrote extensively on Zaporozhian Cossacks, most notably on Yakov Barabash and Martyn Pushkar. His works influenced his friends Alexander Pushkin and Wilhelm Küchelbecker as well as Nikolai Gogol. He died in Turivka, Poltava Governorate, Russian Empire on 21 June 1860. Many of his works have not been published. His personal archive and diary are kept at the Institute of Russian Literature in Saint Petersburg.

A Kobzar (Ukrainian: кобзар, pl. kobzari Ukrainian: кобзарі) was an itinerant Ukrainian bard who sang to his own accompaniment, played on a multistringed bandura or kobza. Kobzars were often blind and became predominantly so by the 1800s. Kobzar literally means 'kobza player', a Ukrainian stringed instrument of the lute family, and more broadly-a performer of the musical material associated with the kobzar tradition. The professional kobzar tradition was established during the Hetmanate Era around the sixteenth century in Ukraine. Kobzars accompanied their singing with a musical instrument known as the kobza, bandura, or lira. Their repertoire primarily consisted of para-liturgical psalms and "kanty", and also included a unique epic form known as dumas. At the turn of the nineteenth century there were three regional kobzar schools: Chernihiv, Poltava, and Slobozhan, which were differentiated by repertoire and playing style. In Ukraine, kobzars organized themselves into regional guilds or brotherhoods, known as tsekhs. They developed a system of rigorous apprenticeships (usually three years in length) before undergoing the first set of open examinations in order to become a kobzar. These guilds were thought to have been modelled on the Orthodox Church brotherhoods as each guild was associated with a specific church. These guilds then would take care of one church icon or purchase new religious ornaments for their affiliated church (Kononenko, p. 568–9). The Orthodox Church however was often suspicious of and occasionally even hostile to kobzars. The institution of the kobzardom essentially ended in the Ukrainian SSR in the mid 1930s during Stalin's radical transformation of rural society which included the liquidation of the kobzars of Ukraine. Kobzar performance was replaced with stylized performances of folk and classical music utilising the bandura. Soviet kobzars were stylised performers on the bandura created to replace the traditional authentic kobzari who had been wiped out in the 1930s. These performers were often blind and although some actually had contact with the authentic kobzari of the previous generation, many received formal training in the Folk conservatories by trained musicians and played on contemporary chromatic concert factory made instruments. Their repertoire was primarily made up of censored versions of traditional kobzar repertoire and focused on stylized works that praised the Soviet system and Soviet heroes. In recent times, there has been an interest in reviving of authentic kobzar traditions which is marked by the re-establishing the Kobzar Guild as a centre for the dissemination of historical authentic performance practice.

Kobzar (poetry collection). Kobzar, first edition (1840). Kobzar (Ukrainian: Кобзар, "The bard"), is a book of poems by Ukrainian poet and painter Taras Shevchenko, first published by him in 1840 in Saint Petersburg, Russia. Taras Shevchenko was nicknamed The Kobzar after the publishing of this book. From that time on this title has been applied to Shevchenko's poetry in general and acquired a symbolic meaning of the Ukrainian national and literary revival. The first publication consisted of eight poems: "Думи мої, думи мої, лихо мені з вами"(My thoughts, my thoughts, you are my doom), "Перебендя" (Perebendya), "Катерина" (Kateryna), "Тополя" (Poplar tree), "Думка" (Thought), "Нащо мені чорні брови" (Why should I have Black Eyebrows), "До Основ'яненка" (To Osnovyanenko), "Іван Підкова" (Ivan Pidkova), and "Тарасова ніч" (Taras's night). There was three editions of the Kobzar during Shevchenko's lifetime: 1840, 1844 and 1860. Two last of them included Hajdamaki-another famous book (poem) by Taras Shevchenko, published in 1841. 1844 edition was entitled as Чигиринський Кобзар і Гайдамаки ("Chyhyryn's Kobzar and Hajdamaki" or "Kobzar of Chyhyryn and Hajdamaki"). Censorship in the Russian Empire prompted publication of the poetry by Taras Shevchenko in non-Russia-ruled lands, such as Prague (now in the Czech Republic) or German editions.

Taras Shevchenko is the national poet of Ukraine, and I am a native of Ukraine, whose poems accompanied me in the education system from kindergarten to examination in Ukrainian literature at school (his works were taught systematically and in depth in eighth grade Ten years-we studied Ukrainian literature systematically according to the periods, from the beginning to the middle of the 19th century in the eighth grade, in the middle of the 19th century and the beginning of the 20th century in the ninth grade, the 20th century in the tenth grade) When I was a kid, I had a children's book illustrated with children's songs by Shevchenko (most of which were social songs). In addition, the monument to Shevchenko in the Shevchenko Public Park in Kharkov is considered one of the attractions of the forest, it goes without saying that every time I walked there at the dawn of my childhood, I saw the statue and heard who and what Shevchenko is. Since he is a national poet on the one hand and a folk poet on the other, most of his poems were written in the format of folk songs, and many of them are indeed considered folk songs. For example, in her second home we sang the hymn "Oh Moran in the meadow, in its beauty it is a flower" I thought it was a folk song. When I came across it in the children's magazine "Barvinok" (Winka) and saw that it was a poem by Shevchenko (by then I already knew who it was), on the one hand I was very ashamed of my ignorance, and on the other I was amazed at the fact that the poet's poetry conquers the people so much His songs to folk songs. In addition. The song "Moaning Dnieper, the Flood", which is in fact the opening of the poem "Crazy", was composed and performed as a separate song, and many people, at least outside Ukraine think it is a folk song, and only in Israel is the name of D. known. Krzyniewski who composed it. In eighth grade, when we systematically studied his creative endeavor, we learned (and some of them read in class) all his antisemitic poems, but according to our curriculum no one bothered to tell us about Shevchenko's participation in the protest against extremist anti-Semitism in the conservative press at the time. Anyone who unequivocally claims that Shevchenko was antisemitic ignores this fact). Imagine what emotions these lessons aroused in me when we studied the poem "Heydemaks", which sang a hymn to the Heidemaks Rebellion of 1768 ("Kulievshchina"). I really hated his poetry, and now that I know all the facts, I realize I did him an injustice. When I started learning Hebrew systematically, I felt like trying to translate some song into Hebrew, and the first song I translated was the song "Moaning Dnieper, the Flood Goes" that I already mentioned above. It was back in 1996, and the translation was monstrous, then I edited it countless times, the last corrections were made back in 2013, when I translated the whole poem. Since then I have dreamed that when the day comes I will translate into Hebrew all the antisemitic songs we learned in school, and I have actually translated most of them. I owed it to myself, there was something Freudian about it. When I started translating Ukrainian poetry, I was amazed at the multiplicity of allusions to Shevchenko's poems in the works of contemporary Ukrainian poets. In most cases (as in the two Pavlichko songs published in the hyphen-"My long-awaited land always lamented me" and "The Nightingale" or in Lyubov Yakimchuk's song "Students in black and white") I added a footnote that the song contains an allusion to this or that work by Shevach Clean, but I was convinced that I would not be able to translate the songs mentioned, which is another reason why it was important for me to translate his poetry into Hebrew. Towards the 200th anniversary of Shevchenko's birth, I began translating his poems into a Jubilee book that was supposed to be published in Hebrew, and at the same time I submitted requests for support to various parties. I did not have time to wait for their answer, because it was important to complete the work before the Jubilee, but in the end I received nothing. For now, I plan to publish a book of translations of the poems of Katrina Klitko-a contemporary Ukrainian poet. We will see in the future what can be done with the Shevchenko poems I have translated so far. Since 2014 has been declared a year in Shevchenko-in case I fail to publish a book, I will try to publish as many important songs as possible - first and foremost those that are taught as compulsory material in the education system and not composed-in magazines and on the Internet.

[Taras Shevchenko . Collection of works: In 6 volumes - K., 2003. - Vol. 1: Poetry 1837-1847. - P. 127; Pp. 634-635.] N. MARKEVICH. Bandura player, blue eagle… The poem was written before MA Markevich's birthday and before his departure for Ukraine. The earliest known text is a draft autograph on a separate sheet. The next stage of text development is reflected in the final autograph, which is stored in the CDAMLMU. Shevchenko quoted three lines from the text in a letter to GF Kvitka-Osnovyanenko dated February 19, 1841, and on December 8, 1841 he sent through O. Korsun GF Kvitka-Osnovyanenko a finalized work (autograph № 26) together with the ballad "Drowned", an excerpt from the drama "Bride" ("Song of the Guard in Prison") for transfer to the publisher of the almanac "New Moon" I. Betsky. According to this last autograph, the poem was published in the almanac Molodyk (X., 1843. - Part 2. - P. 108 - 109). In the text of the first edition there are deviations from the autograph in line 15 ("Lonely ... and Ukraine!") And line 20 ("There is a blue sea"), which probably belonged to the editor. From "New Moon" in the late 50's of the XIX century. The poem was rewritten by IM Lazarevsky (IL, f. 1, № 88, pp. 13 - 13). Looking at the list after the exile, Shevchenko made in the poem "N. Markevich ”correction in line 26. The poem is not included in the last lifetime edition -“ Kobzar ”1860. First introduced into the collection of works in the publication: Kobzar Taras Shevchenko / Cost DE Kozhanchikov. - St. Petersburg, 1867. - P. 91 - 92 - according to the text of the first edition. In 1907, a clean autograph № 26 was discovered in the Rumyantsev Museum and its cancellations from the text of the first edition were published in the magazine "Ukraine" (1907. - № 2. - P. 140 - 141. Publication of I. Lyubov.( Markevich Mykola Andriyovych (1804 - 1860) - Ukrainian historian, author of "History of Little Russia" in five volumes (published in 1842 - 1843), ethnographer, poet, author of a collection of romantic poetry in Russian "Ukrainian Melodies" (1831)…His poetic collection is characterized by motives of romantic longing for the past, the idealization of the Hetmanate. According to the diary of MA Markevich (IRLI, f. 488, № 39, sheets 25, 28), he met Shevchenko in April 1840 in St. Petersburg. They also met in 1843 in Ukraine, in particular, probably in the estate of MA Markevich in the village / 635 / Turivka (Pryluky district of Poltava province). Shevchenko signed a collective humorous letter to Markevich, addressed to Turivka (dated January 22, 1844), on the back of which the latter wrote a poetic answer addressed directly to Shevchenko. Shevchenko's acquaintance with MA Markevich's History of Little Russia and Ukrainian Melodies affected certain motives and images of his historical poetry. The young poet was impressed by MA Markevich's national and patriotic sentiments, his interest in the history, ethnography and folklore of Ukraine. "With your father, my friend," he wrote on April 22, 1857, to the son of the historian A. Markevich, "we were once great friends and we met him in more than one Kachanivka." However, returning from exile in St. Petersburg, Shevchenko did not get acquainted with him and did not include the poem "N. Markevich "to" Kobzar "in 1860. Bandurist, blue eagle ... - MA Markevich was an amateur musician, a good pianist, author of the collection "Folk Ukrainian tunes, laid on the piano" (1840). In his collection "Ukrainian melodies" there is a poem "Bandurist".

Markevich and Shevchenko. 1. During his stay in St. Petersburg, Markevich wrote in his diary on March 4, 1840, the address of Shevchenko and Sternberg. Their acquaintance took place a little later, on April 27, 1840. 2. . On May 9, 1840, on the eve of Markevich's birthday and on the eve of his departure from St. Petersburg, Shevchenko wrote poetry " N. Markevich " (published in 1843). The appeal to Markevich-bandurist is inspired by the poetry of the last " Bandurist" 3. Shevchenko was interested in the work of Markevich, as can be seen from the letter (1844), read his work "History of Little Russia" (1842 – 1843). 4 . A friendly letter with Markevich was witnessed by a humorous letter (January 22, 1844) to Markevich, also signed by Shevchenko. But a detailed chronology of their meetings in Ukraine in 1843-1845 cannot be established; it was also not possible to confirm the assumption that Shevchenko was in the estate of Markevich - p. Turivtsi. 5 . Numerous facts of creative ties between Shevchenko and Markevich in 1840 - 1845 researched O. Kosachevskaya [ Kosachevskaya EM NA Markevich. - Leningrad: 1987, Chapter 9: “N. A. Markevich and TG Shevchenko [.M. Zh., June 27, 2016.

Kobzar, 1840. N. Markevich. Taras Shevchenko. Bandura player, blue eagle, Good for you, brother, You have wings, you have strength, There are times to fly. Now you fly to Ukraine, They look like you. I would fly after you, And who will congratulate? I'm a stranger here, lonely, And in Ukraine I am an orphan, my dove, As in a foreign land. Why does the heart beat, tear? I'm lonely there. Lonely… And Ukraine! And the steppes are wide! There will blow a big, As the brother speaks, There's a wide field of will, There is a blue sea Wins, praises God, Anxiety disperses, There are graves with strong winds In the steppe they talk, They speak sadly, This is their language: "Once upon a time - past, He will not return again. " I would fly, I would listen, I would cry with them. Yes, fate has subdued Between strangers. May 9, 1840, St. Petersburg.

Ukrainian melodies, Bandura player, N. A. Markevich, Prayer bandura player rules And akathists sings Puts a candle before the icon: Tomorrow he goes to Kiev. In along the high road He stretched, in alarm Looking back: There is an expensive bandura, Young daughter and granddaughter Herd, field, house and garden. And the village got bored That the old man is not heard; Does not rattle loudly on the strings Trained hand. Do guests come to his house? Games and songs do not start, Everything is boring, everything is silent, And bandura for a whole month In a corner, in a white sickle, It is under the icons. important, holy Singer in Ukrainian and other! Will he sing? Half as light For tormented hearts.Will enemies hurt? Old people go involuntarily Listen to the song of old. And the Cossacks are young Songs are listened to live About love and war. Is it a holiday? crowd of people Will gather at the tavern They drink wine and honey like water, They feed the old man. The young men listen to him The maidens embrace the old man, They do not look at wrinkles; And with their fun Like the soul of a singer alive The bandura player is having fun. He's been spending a month In the Lavra at the holy relics, And it's been going on ever since Day after day, twelve days. On the thirteenth they said What from Kiev, heard Bandurist went home. Soon, soon to be home! Everyone knows joy But thirteen is a bad score! Evening, as the village fell asleep, And how the watchman began to walk, Something snapped a bracket And outside the door began to howl. Suddenly shaggy, with claws, With six black fingers A hand slipped through the door. Away from the bandura coverlet, And played wonderfully Twice as good as the old man! The door shook and creaked Running in the attic The witch whistled in the oven Something is dancing in the chest. The ceiling is parted, in the cracks Scary faces looked And the brownie appeared. All in a black-brown edge, For a long time he waved the bandura And disappeared, raising a howl! In the morning they came with a prayer, That the singer has been gone for a long time: The old man swam down the river Dnieper In a storm and went to the bottom. The whole village sobbed bitterly! That was the beginning of all troubles: Suddenly Muscovites come Fight with the Swede, they beat the cattle, Cossacks were enslaved They ate bread, burned the village! Notes by N. A. Markevich Here you can see the respect that the Little Russians show to the singers of the great deeds of the ancestors. Bandura is a kind of guitar, it has frets like that one, but the difference is that the back in it is not flat, but round. The academic dictionary says that it is mostly about seven strings, which are played with fingers. But it is mostly about twenty-odd strings, although by the way it is never played with the nose. The torban and the Illyrian guzla are even more similar to the bandura . Serpyanka - canvas is rare and thick, used for headwear and curtains by common people. I have seen several such singers, surrounded by young people and old people. Everyone listened with admiration to songs about antiquity. The blind man, like a new Homer, sang about the years of glory, and the old women shook their heads, grimaced and wiped away their tears with their fists. One of those was even in one of our estates. Having died not so long ago, he left behind many heirs of his talent in various villages, and passed on many songs. He even started schools of music and singing for those maimed by smallpox. For him, the bandura was his extraordinary treasure - it was his comrade wherever he went. He, being a wealthy peasant, gave up everything in order to sing. One should have seen his despair when his bandura was stolen from him, and heard the complaints that he brought at that time. But soon he received another, to which over time he got used to as well as to the former one. According to the publication: Markevich N. A. Ukrainian melodies. - M .: 1831, book. 1, p. 17-20 (text), 116-117 (notes).

http://litopys.org.ua/shevchenko/shev116.htm///N. MARKEVYCH///[Taras Shevchenko . Collection of works: In 6 volumes — K., 2003. — Volume 1: Poetry 1837-1847. — P. 127; P. 634-635.]///Banduriste, a gray eagle, good for you bro You have wings, you have strength There is a time to fly. Now you fly to Ukraine They look at you. I would fly for you But who will congratulate? I'm a stranger here too, lonely, And in Ukraine I am an orphan, my dear, As in a foreign country. Why is the heart beating, tearing? I'm lonely there. Lonely... And Ukraine! And the steppes are wide! There is a riotous How the brother will speak There is a wide field of will, There is a blue sea Wins, praises God, Dispels longing, There are graves with violent wind They talk in the steppe They talk sadly This is their language: "Once upon a time - passed, Won't come back again." I would fly, I would listen I would cry with them. Well, fate has tamed it Between strangers.///N. MARKEVYCH///Text sources: draft autograph on a separate sheet (IL, f. 1, no. 1); clean autograph on a separate sheet (TsDAMLMU, f. 506, op. 2, no. 1); a fragment of the text (lines 10 — 12) in Shevchenko's letter to G. F. Kvitka-Osnovyanenko dated February 19, 1841 (IL, f. 30, no. 11); clean autograph on a separate sheet (IL, f. 1, no. 26); the list of I. M. Lazarevsky of the late 50s of the XIX century. with Shevchenko's corrections (IL, f. 1, no. 88, sheet 13 — 13 ver.). Presented with a clean autograph on a separate sheet (IL, f. 1, no. 26). Dates in the autographs: in the draft (IL, f. 1, No. 1) — "May 9, 1840", in the final (TsDAMLMU, f. 506, op. 2, No. 1) — "1840. May 9"; in cleaning (IL, f. 1, No. 26) — "St. Petersburg. May 9, 1840." Dated according to these autographs: May 9, 1840, St. Petersburg///The poem was written before the name day of M. A. Markevich and before his departure to Ukraine. The earliest known text is a draft autograph on a separate sheet. The next stage of the development of the text is reflected in the finished autograph, which is kept in the Central State Academy of Medical Sciences. Shevchenko quoted three lines from the text in a letter to G. F. Kvitka-Osnovyanenko dated February 19, 1841, and on December 8, 1841, through O. Korsun, he sent the finished work to G. F. Kvitka-Osnovyanenko (autograph No. 26) together with the ballad "Drowned", an excerpt from the drama "The Bride" ("The Song of the Guard in the Prison") for transfer to the publisher of the almanac "Molodyk" I. Betsky. According to this last autograph, the poem was printed in the almanac "Molodyk" (X., 1843. — Ch. 2. — P. 108 — 109). In the text of the first edition, there are deviations from the autograph in line 15 ("Lonely... and Ukraine!") and line 20 ("There is a blue sea"), which probably belonged to the editor. From "Molodyk" at the end of the 50s of the XIX century. the poem was rewritten by I. M. Lazarevskyi (IL, f. 1, no. 88, sheet 13 — 13 ver.). Reviewing the list after exile, Shevchenko wrote in the poem "N. Markevich" correction in line 26. The poem was not included in the last posthumous edition - "Kobzar" 1860.///For the first time, it was included in the collection of works in the publication: Taras Shevchenko's Kobzar / at the expense of D. E. Kozhanchikov. — St. Petersburg, 1867. — pp. 91 — 92 — according to the text of the first edition. In 1907, the clean autograph No. 26 was discovered in the Rumyantsev Museum and its deviations from the text of the first edition were published in the magazine "Ukraine" (1907. — No. 2. — P. 140 — 141. Publication of I. Lyubov).///Markevich Mykola Andriyovych (1804 — 1860) is a Ukrainian historian, author of "History of Little Russia" in five volumes (published in 1842 — 1843), ethnographer, poet, author of a collection of romantic poems in Russian "Ukrainian Melodies" (1831). In his youth, M. A. Markevich was acquainted with V. K. Küchelbecker, O. S. Pushkin, E. A. Baratynskyi, F. M. Glinka, M. I. Glinka, sympathized with the Decembrists, admired the thoughts and poetry of K. F. Ryleeva, corresponded with him (in his unpublished poem "From a song about Dmitry Donskoy" (1827-1828), he praised K. F. Ryleeva). His poetic collection is characterized by motifs of romantic longing for the past, idealization of the Hetmanship.///According to the diary of M.A. Markevich (IRLY, f. 488, No. 39, sheet 25, 28), he met Shevchenko in April 1840 in St. Petersburg. They also met in 1843 in Ukraine, in particular, probably in the estate of M. A. Markevich in the village /635/ Turivtsi (Prylutsky District, Poltava Province). Shevchenko signed a collective humorous letter to Markevich, addressed to Turivka (dated January 22, 1844), on the back of which the latter wrote a poetic reply addressed directly to Shevchenko.///Shevchenko's familiarity with M. A. Markevich's "History of Little Russia" and "Ukrainian Melodies" affected certain motifs and images of his historical poems. The young poet was impressed by the national-patriotic sentiments of M. A. Markevich, his interest in the history, ethnography and folklore of Ukraine. "With your father, my friend," he wrote on April 22, 1857, to the son of the historian A. Markevich, "we were once great friends and met him more than once in Kachanivka." But, returning from exile to St. Petersburg, Shevchenko did not renew his acquaintance with him and did not include the poem "N. Markevich" to "Kobzar" 1860. Banduriste, orle zizyy... — M.A. Markevich was an amateur musician, a good pianist, the author of the collection "Narodnye ukrainianie napevy, polozhennye na tepiano" (1840). In his collection "Ukrainian Melodies" there is a poem "Bandurist".///"It was once - it 's gone, It won't come back again." — Elegiac references to the past of Ukraine, which "will not return", are characteristic of many of Shevchenko's early poems ("To Osnovyanenko", "Ivan Pidkova", etc.). Similar motifs are also present in "Ukrainian Melodies" by M. A. Markevich ("Zaporozhtsy do not run in the vast steppes, And only the memory remained of byvaloi freedom!" - the poem "Hetmanship"). Shevchenko was close to the motives of the aggrandizement of the Cossacks, the pictures of the turbulent Cossack life, the victorious struggle of the Cossacks ("Chigyrin") in opposition to the modern state of subordination ("What now, Cossack? Чадный помыкает намы..." - "Scarves on Cossack Crosses"; " A people without a homeland is like a forgotten city..." — "Chigyrin").

https://knigogo-com-ua.translate.goog/knigi/banduryste-orle-syzyj/?_x_tr_sl=uk&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///N. Markevich///Bandurist, gray eagle! Good for you, brother: You have wings, you have strength, There is time to fly. Now you fly to Ukraine-they look at you. I would fly for you, but who will greet you. I am a stranger here, lonely, And in Ukraine I am an orphan, my dear, As in a foreign land. Why is the heart beating, tearing? I'm lonely there. Lonely... and Ukraine! And the steppes are wide! There is a boisterous boy, Like a brother, he will speak; There is a wide field of will; There the blue sea Wins, praises God, Dispels longing; There are graves with a violent wind In the steppe they are talking, They are talking sadly, That's their language: "It was once - it's gone, It won't come back again." I would have flown, I would have listened, I would have cried with them...Well, fate has tamed///Mez among strangers.///Taras Shevchenko wrote his poem "Banduriste, blue eagle" in 1840, when he was in St. Petersburg. He dedicated this poetic work to Mykola Markevich, with whom he had already met and had a little conversation. Taras Hryhorovych himself was still a young man at the time, and his new acquaintance managed to become famous for his works on Ukrainian ethnography and history. The poet was delighted with Markevich and his works, therefore, being in a high mood, he wrote this dedication poem. And he called him a bandurist for the reason that Markevich published a collection of poetry, which contained a poem about such a musician. Moreover, the man himself played the bandura, although he was not a professional, so such an appeal to his address was logical and understandable. This work contains all the elements characteristic of Shevchenko's early work: longing for his native country, memories of Ukraine's difficult past, feelings of loneliness and orphanhood in a foreign land. And Mykola Andriyovych became a good friend and assistant for the poet, to whom he turned for advice when he was working on the creation of works on historical themes.

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