HARVARD UKRAINIAN STUDIES Volume II Number 4 December 1978 Ukrainian Research Institute Harvard University Cambridge, Massachusetts Copyright 1978, by the President and Fellows of Harvard College AH rights reserved ISSN 0363-5570 Published by the Ukrainian Research Institute of Harvard University, Cambridge, Massachusetts, U.S.A. Printed by the Harvard University Printing Office Typography by Brevis Press, Cheshire, Conn. CONTENTS ARTICLES Notes on the Text of the Igor' Tale 393 RICCARDO PICCHIO A Legend about Paper Manufacturing in Thirteenth-Century Ukraine 423 JAROSLAV STEPANIV Ideology and Reality in the Bilu Aliyah 430 YOSEF SALMON Anatomy of a Literary Scandal: Myxajl' Semenko and the Origins of Ukrainian Futurism 467 OLEH S. ILNYTZKYJ DOCUMENTS Documents of Bohdan Xmel'nyc'kyj 500 FRANK E. SYSYN REVIEW ARTICLES Some Observations on the Ukrainian National Movement and the Ukrainian Revolution, 1917-1921 525 ANDREW P. LAMIS REVIEWS W. W. Kulski, Germany and Poland: From War to Peaceful Rela- tions (Anthony R. De Luca) 532 Joseph Sirka, The Development of Ukrainian Literature in Czecho- slovakia, 1945-1975 (Danylo Husar Struk) 534 Wolodymyr T. Zyla and Wendell M. Ayock, Ethnic Literatures since 1776: The Many Voices of America (Myron B. Kuropas) 536 R. H. Stacy, Russian Literary Criticism: A Short History (Karen Rosenberg) 539 INDEX TO VOLUME II (1978) 541 CONTRIBUTORS Riccardo Picchio is professor of Slavic languages and literatures at Yale Univer- sity and an associate of the Ukrainian Research Institute at Harvard Uni- versity. Jaroslav Stepaniv is a private scholar. Yosef Salmon is assistant professor of history at the Ben Gurion University of the Negev. Oleh S. Ilnytzkyj is a Ph.D. candidate in Slavic languages and literatures at Harvard University. Frank E. Sysyn is assistant professor of history and associate of the Ukrainian Research Institute at Harvard University. Andrew P. Lamis is an undergraduate majoring in social studies at Harvard College. NOTES ON THE TEXT OF THE IGOR' TALE RICCARDO PICCHIO 1. In previous articles I have discussed the particular rhythmic-syntactic patterns that characterize many texts of Orthodox Slavic literature. According to these patterns, logical and syntactic units are grouped in series of rhythmically marked cola with an equal number of stresses. The regular occurrence of such features is so widespread that we can speak of a general isocolic principle governing literary productivity from the Bal- kans to the East Slavic lands until the eighteenth century. This clear isocolic structure characterizes the Igor' Tale, as well. It may have been produced either by the work's original author or by a scribe (or scribes) who worked on the text, as we know it, as an editor or compiler.1 From the formal point of view, the presence of these characteristics clearly places the Igor' Tale within the literary norm of Medieval Ortho- dox Slavdom (Slavia Orthodoxa). In particular, the presence of isocolic 1 See my articles: "On the Prosodie Structures of the Igor' Tale," Slavic and East European Journal 16, no. 2 (Summer 1972): 147-62; "The Isocolic Principle in Old Russian Prose," in Slavic Poetics: Essays in Honor of Kiril Taranovsky (The Hague and Paris, 1973), pp. 299-331; "Models and Patterns in the Literary Tradition of Medieval Orthodox Slavdom," in American Contributions to the Seventh Interna- tional Congress of Slavicists, vol. 2 (The Hague and Paris, 1973), pp. 439-67; "Isocolic Constructions in Old Serbian Prose," in Xenia Slavica in Honor ofGojko Ruiićić(The Hague and Paris, 1973), pp. 149-61; "Strutture isocoliche e poesía slava médiévale," Ricerche Slavistiche 17 (1972): 419-31; "Sulla struttura prosódica di una pagina romana di Gogol'," Strumenti Critici 20 (1973): 101-116; "Su alcune analogie fra la técnica scrittoria del Petrarca e gli stili delia letteratura balcánica nel XIV secólo," in Petrarca i Petrarkizam u slavenskim zemljama (Zagreb and Dubrovnik, 1978), pp. 411-24. The impact of isocolic models on the style of Glagolitic literature has been studied by E. Hercigonja in his book Srednjovjekovna knjiievnost, Povijest hrvatske knjizevnosti, vol. 2 (Zagreb, 1976). The isocolic structures in Old Rus'ian literature and their significance for textual criticism have been studied especially by M. Colucci and A. Danti in their critical edition, Daniil Zatoânik: Slovo e Molenie, Studia His- tórica et Philologica, vol. 2 (Florence, 1977); see also M. Colucci, "Le strutture proso- diche dello 'Slovo Daniila Zatoćnika,'" Ricerche Slavistiche 20-21 (1973-1974): 83- 124; M. Colucci, "E' possibile una constitutio textus della 'ZadonSCina'?," Spicilegio moderno 7 (1977): 36-62; M. Ziolkowski, "The Discourse on Dmitrij Ivanovic Donskoj" (Ph.D. Diss., Yale University, 1978). 394 RICCARDO PICCHIO structures in both the Igor' Tale and the sections of the Hypatian and Laurentian chronicles dealing with the campaign of Igor' Svjatoslavic in 1185 facilitates the comparative study of these works. The adherence of the Igor' Tale to the isocolic principle provides internal clues to the syntactic structure of the text. Besides offering a kind of rhythmic-syntactic "grid" that displays the text's segmentation, the isocolic distribution may also help the reader recognize signals of dif- ferent kinds, such as the alliterative or rhyming markers in the following examples: 2* A poganago / Kobjaka 2 izb luku / morja, 2 otb zeléznyxb / velikixb 2 plbkovb / Poloveckixb, 2 jako vixn> / vytorze. 2 I padesja/ Kobjakb 2 vb gradé / Kievë, 2 vb gridnicë / Svjatbslavli. Here the distribution of minimal rhythmic-syntactic segments in a series of two-stress cola is marked by an elaborate system of signals. Otherwise, the phrase's segmentation would have been better expressed by a different isocolic scansion. The first four cola, for example, could be read as two cola of four stresses each. In fact, most medieval texts contain series of long cola (up to seven stressed word-units in the Igor' Tale) which often correspond to full clauses. The sound signals in this series, however, display a particular organiza- tion of marked pauses. The signals (with rhyme value) are ranged con- centrically. "Kobjaka-Kobjakb" marks the sound-and-meaning bound- aries of the first phrase, which stretches beyond the grammatical limits of the first sentence to include the subject ("Kobjakb") of the second. The sound pair "morja-vytorze" marks a second rhyming line, whereas the rhyming kernel of the whole phrase is represented by the central couplet ("... velikixb -... Polovec&iJtb "). The unity of the conclusive dicolon, on the other hand, is marked by a sound iteration which does not occur at the cola's end, but at its beginning: "va gradé Kievë - va gridnicë Syjato- slavli." Sound signals can also mark the functional individuality of the cola by establishing particular sound connections in the body of each colon, that is, without interfering with the parallelistic system of correspondences Numerals refer to the number of stressed units in each colon. 396 RICCARDO PICCHIO 3 sërymb / уъ1котъ / po zemli, 3 Sizyrrrb/ огіогпь/ podb oblaky. 3 The known variants (in P, P2, E, K, M) are of a purely graphic nature, with one exception: Ρ and P2 read "naëati że sja tbj pësni," whereas Ε has "naćatiżesjatb pësni."4 The uncertainty of the first editors of the late eighteenth century about these words indicates that they had particular difficulty reading this section of the codex, and that this difficulty resulted in conjectural graphic renderings and interpretations. According to the current interpretation, the exordium may be divided into three sentences: (1) an initial sentence containing a rhetorical ques- tion ("Is it not fitting to begin [this composition] with the ancient words of the difficult tales concerning the raid of Igor' Svjatoslavic? ") ; (2) a second sentence containing the response to this rhetorical interrogation ("Then begin this song according to the 'truths' of this age and not according to Bojan's fancy"); (3) a sentence which explains the rhetorical comparison in the response ("Bojan's fancy" refers to the peculiar mental activities in which the "seer" engaged when he undertook to compose a song). Despite the penetrating explanations of critics and editors,5 the impres- sion remains that in the first sentence (the rhetorical question) the direct object governed by "to begin (naćjati) " is missing. In resolving this gram- matical problem, we might posit that "to begin" was used intransitively precisely to indicate the indeterminateness of its object, or we might attribute the accusative function to "trudnyxb povëstii." The expression "naćati że tbj pësni" is usually interpreted as a hortatory imperative in 3 Slovo, p. 43. 4 Slovo, p. 45. 5 For detailed surveys of the most popular opinions on the text of the ¡gor ' Tale see: Slovo, pp. 463-529; V. P. Adrianova-Peretc, "Slovo о polku Igoreve " і pamjatniki russkoj literatury XI-XIII vekov (Leningrad, 1968); V. L. Vinogradova, Slovar- spravoânik "Slova о polku Igoreve, "4 vols. (Leningrad, 1965-74); T. Ğizevska, Glos- sary of the Igor' Tale (The Hague, 1966); S. Wollman, Slovo о polku Igoreve jako umélecké dı'lo, Rozpravy Ceskoslovenské Akademie Vëd, vol. 68, no. 10 (Prague, 1958); F. M. GolovenCenko, Slovo о polku Igoreve: Istoriko-literaturnyj i biblio- grafiíeskij oćerk (Moscow, 1955). Among the older critical surveys see, in particular, E. V. Barsov, Slovo о polku Igoreve как xudoiestvennyj pamjatnik Kievskoj dru- zinnoj Rusi, 3 vols. (Moscow, 1887-89); and V. N. Peretc, К izućeniju "Slova о polku Igoreve "(Leningrad, 1926). The essence of the main critical debates is presented and discussed by R. Jakobson, Selected Writings, vol. 4: Slavic Epic Studies (The Hague and Paris, 1966). See also H. R. Cooper, Jr., The Igor' Tale: An Annotated Bibliog- raphy of 20th-century Non-Soviet Scholarship on the "Slovo о polku Igoreve"'(Lon- don, 1978), with the appendix "Roman Jakobson's Fifth Reconstruction of the Slovo о polku Igoreve." Among the many annotated translations of the tale, that of A.