Мовотворчість Тараса Шевченка розглянуто як об’єкт славістичних студій, здійснених поза межами України впродовж ХІХ-ХХІ ст. Наведено оцінки, які дали мові й індивідуальному стилю Т. Шевченка дослідники-славісти — білоруський (М. Богданович), шведський (А. Єнсен), болгарський (С. Русакієв), польський (М. Лесів). Актуалізовано праці І. Огієнка, В. Чапленка, Ю. Шевельова, М. Мозера про зв’язок художньої мови Т. Шевченка зі староукраїнською книжною традицією, фольклорними джерелами, народнорозмовною практикою. Простежено відбиття структурно-семантичних і стилістичних особливостей ідіостилю Шевченка в слов’янських перекладах.
In this article, T. Shevchenko’s poetic language is presented as an object of Slavic research
performed outside of Ukraine during 19th—2st centuries. The Slavic language researchers focus on
(a) linguistic analysis of the language of Shevchenko’s poems from the view point of the history of
the Ukrainian literature language, with its structural and ethnical cultural aspects; (b) Shevchenko’s
language as an artistic phenomenon which is aesthetically presented in various translations into other
Slavic languages.
Over the years, the linguists and translators keep focus on the language art of the poet and
research the specifics of his language usage, his image systems, and the relationship between
Shevchenko’s style and the Ukrainian literature language.
The works of Slavic scholars M. Bogdanovych (Belarus), A. Jensen (Sweden), S. Rusakiev
(Bulgaria) and M. Lesiv (Poland) on Shevchenko’s language and individual style are analyzed.
Shevchenko’s poetic art became the role model for the Ukrainian identity due to his
understanding of the Ukrainian history, the Ukrainian language specifics, as compared to other
Slavic languages, as well as his description of the actual living conditions, social and domestic
culture, and psychology and communication of the Ukrainian nation. Both inside and outside of
Ukraine, some poetic texts of Shevchenko were known as people’s songs. At the same time,
Shevchenko’s art contributed to the increase of the creative function of the literature language and
became a milestone in making the language more intellectual and aesthetic and played an important
role in the nation’s spiritual life.
As is known, a new period in the history of the Ukrainian literature language and
the establishment of the modem literature norm are connected with Shevchenko’s poetry. The key
question is why Ukrainians took Shevchenko’s language as a role model of the Ukrainian literature
language. The linguistic analysis of language factors in the works of I. Ogienko, V. Chaplenko,
Y. Sheveliov and M. Mozer proves that Shevchenko’s artistic language is connected with the old
Ukrainian book tradition, folk sources (people’s songs) and conversational practice, and the poet’s
novelty approach to lexical and structural potential of the Ukrainian language as well as its stylistic
flexibility.
Authors note that T. Shevchenko put themes of national self-identification, search for human
ideals and chanting freedom and human dignity common for all Slavic literature into such aesthetic
forms that inspired interpreters to re-create those forms in their own Slavic languages. First Slavic
translations of Shevchenko’s poems appeared during the poet’s lifetime.
The article overviews translation of the poems published in both collective and individual issues,
from chronological perspective. Authors accentuate that while initial translations were oriented on
preservation of Shevchenko’s main ideas, the later works focused on aesthetic criteria and reflection
of the poet’s individual style.
