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THE SNOWSTORM The hands of the clock at the corner Are shackled by layers of snow. Our separate paths — leading nowhere, Meet again, as of long ago. Again — now, as then, streets are blinded. The snowstorm is blocking our way. Yet our hearts are strangely elated... The wind prompts the words we’re to say, Oh, wind, prompt the kindliest message, I’ll repeat your words faithfully. Let the flurry and roar of your passage, Drown the words I was going to say. Say, there was no meeting, no rapture, No yearning nor sorrow... And yes, I’am happy and I never missed you. For I never loved you — I guess. But when I touch lightly your forehead And all pent up tears start to flow, The lions at gateway won’t notice For their eyes are blinded by snow. English translation by Tetiana Shevchuk. AN OFFERING, 1978. Ukrainian Cultural Ass’n., New York. mildly favorable anonymous review (published in May 1840 in Otechestvennye Zapiski) of Shevchenko’s “Kob- zar”. Swoboda’s article “Shevchenko and Censorship” {The Ukarainian Review, 1961/62) is a two-part detailed and documented study of tsarist Russian and Soviet censorship practices with respect to various editions of Shevchenko’s poetry. As the above mentioned monograph by G. Hrabo- vych argues, myth serves as the underlying code and model of Shevchenko’s poetic universe. By examining the structure and paradigms of Shevchenko’s mytholog ical thought, one can find answers to various crucial and intractable questions, such as those concerning the relation of his Ukrainian poetry to his Russian prose. His sense of a transcendent “curse” and “guilt” in the Ukrainian past and present, the interrelation of his revo lutionary fervor with his apparent providentialism, or of the tension between the national spirit and the univer sality of his poetry. By virtue of its method of symbolic analysis, the monograph is of value not only to Slavonic researchers, but to all who are interested in a rigorous study of literary myth in its broader cultural context. G. Hrabovych convincingly and persuasively writes about the national roots of Shevchenko’s poetry from the posi tions of structuralism and psychoanalysis. There are, in my view, some controversial points in the monograph: insufficient attention to the poet’s imagery, his rhythmi cal system. Hrabovych does not take into consideration that some of Shevchenko’s maxims have become sacred for Ukrainians, for example, “В своїй хаті своя правда і сипа і вопя” (In your own house your own truth, strenght and liberty). In 1992, the Canadian scholar A. Makolkin pub lished the results of some interesting research in his monograph “Name, Hero, Icon: Semiotics of National ism Through Heroic Biography”. The monograph is a scholarly contribution to research both in social semio tics and Shevchenko studies. Its subject is the promi nent Ukrainian poet as a sign of high semiotic intensity. In the journal of the Australian and New Zealand Slavists’ Association, “Australian Slavonic and East European Studies” (1993, Vol. 7, Number 10), K. Windle published “Shevchenko’s narrative poem ‘Maria’ in three Russian translations”, an article based largely on Ukra inian and Russian literary criticism. Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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