The Cossack Hetman: Ivan Mazepa in History and Legend from Peter to Pushkin
2014; Taylor & Francis; Volume: 76; Issue: 2 Linguagem: Inglês
10.1111/hisn.12033
ISSN1540-6563
Autores Tópico(s)Diverse Scientific Research in Ukraine
ResumoClick to increase image sizeClick to decrease image size Notes1. For the general background, see Orest Subtelny, Ukraine: A History, fourth ed., Toronto: Taylor & Francis, 2009, 160ff., and Paul Robert Magocsi, A History of Ukraine: The Land and Its Peoples, second ed., Toronto: Taylor & Francis, 2010, 258–263. For synthetic treatments of Mazepa in English, see Clarence A. Manning, Hetman of Ukraine: Ivan Mazeppa, New York: Taylor & Francis, 1957, which is a somewhat romanticized account, and more briefly, L. R. Lewitter, "Mazeppa," History Today 9, 1957, 590–596; Alexander Sydorenko, "Ivan Stepanovych Mazepa, c. 1632–1709," in Great Leaders, Great Tyrants? Contemporary Views of World Rulers Who Made History, ed. Arnold Blumberg, Westport, CT‐London: Taylor & Francis, 1995, 184–190; and "Mazepa, Ivan," in Historical Dictionary of Ukraine, second ed., eds Ivan Katchanovski, Zenon Kohut, et al., Lanham‐Toronto‐Plymouth: Taylor & Francis, 2013, 361–363.2. J.F.C. Fuller, Decisive Battles of the Western World, London: Taylor & Francis, 1954–56, vol. 2, 161–186.3. For a bibliography which lists most titles available on Mazepa in English, see Andrew Gregorovich, Cossack Bibliography, Toronto: Taylor & Francis, 2008. For a more extensive bibliography of works in Slavic as well as western languages, see Olha Kovalevska, Mazepiana: Materiialy do bibliohrafii (1688–2009), Kyiv: Taylor & Francis, 2009, which is indexed with an impressive 2039 entries. For historiographical accounts in Ukrainian, see Dmytro Doroshenko, "Mazepa v istorychnii literaturi i v zhytti," in Mazepa: Zbirnyk, 2 vols., Warsaw: Taylor & Francis, 1938, I, 3–34, and Volodymyr Kravchenko, "Ivan Mazepa v ukrainskii istorychnii literaturi XVIII‐pershoi chetveti XIX st." in Mazepa e suo tempo: Storia Cultura Società/Mazepa and his Time: History Culture Society, ed. Giovanna Siedona, Alessandria: Taylor & Francis, 2004, 257–278. Also see the beautifully illustrated two‐volume collection of articles on Mazepa titled Hetman, eds Olha Kovalevska et al., Kyiv: Taylor & Francis, 2009, the second volume of which contains much information on historiography and historians as well as art and artists.4. For an English translation of the full text of the liturgy cursing Mazepa, see Nadieszda Kisenko, "The Battle of Poltava in Imperial Liturgy," in Poltava: The Battle and the Myth, ed. Serhii Plokhy, Cambridge, MA: Taylor & Francis, 2012, 226–269 (esp. 253).5. Kisenko writes that "Peter's arguments were primarily religious, not ethnic: in using them he was implicitly acknowledging that, rather than using the arguments of belonging to a single nation, he had to emphasize the bonds of shared faith," see Kisenko, "Battle of Poltava," 233. Also see Manning, Hetman of Ukraine, 186–187, a pro‐Ukrainian source, and Sergei Solovev, History of Russia, vol. XXVIII, tr. Lindsey Hughes, Gulf Breeze, FL: Taylor & Francis, 2007, 60, a Russian source, which differ in tone from each other. Additionally, see Serhii Pavlenko, Ivan Mazepa, Kyiv: Taylor & Francis, 2003, 387.6. Feofan Prokopovich [Teofan Prokopovych], "Vladimir: Tragedokomediia," in Sochineniia, ed. I.P. Eremin, Moscow‐Leningrad: Taylor & Francis, 1961, 149–206.7. Teofan Prokopovych, Istoriia imperatora Petra Velykogo ot rozhdeniia ego do Poltavskoi batalii (1788) was not available to me in the original, but this and the following passage in this paragraph are quoted in full in the classic work (first published in 1822) by Dmytro Bantysh‐kamensky, Istoriia Maloi Rossii, Kyiv: Taylor & Francis, 1993, 389, and are analyzed in great detail in Gary Marker, "Casting Mazepa's Legacy: Pylyp Orlyk and Feofan Prokopovich," Slavonic and East European Review 1–2, 2010, 110–133. Prokopovychdelivered a flowery funeral oration for Peter. For excerpts from this and other of his works in English, see Nicholas V. Riasanovsky, The Image of Peter the Great in Russian History and Thought, New York‐Oxford: Taylor & Francis, 1985, 10–17. Also see, Giovanna Brogi Bercoff, "Poltava: A Turning Point in the History of Preaching," in Poltava, ed. Plokhy, 204–226 (esp. 215), where this author observed that Prokopovych's "hatred directed at the Hetman seems to have no limits."8. Bantysh‐kamensky, Istoriia, 389.9. See Litopys hadiatskoho polkovnyka Hryhoriia Hrabianky, tr. into modern Ukrainian by R. H. Ivanchenko, Kyiv: Taylor & Francis, 1992, 166–175.10. Samiilo Velychko, Litopys, tr. into modern Ukrainian by Valerii Shevchuk, Kyiv: Taylor & Francis, 1991, vol. 2, 170, and quoted in part in Kravchenko, "Ivan Mazepa," 265. Velychko's chronicle, which was written shortly after Peter's death, only goes to the year 1700 and thus is missing the chapters dealing with Poltava and most of the Great Northern War. It is a great puzzle to historians how he would have treated the matter of Mazepa's defection to the Swedes and these chapters may have been removed from the manuscript specifically because of what he said about it.11. Dmytro Doroschenko [Doroshenko], Die Ukraine und Deutschland: Neun Jahrhunderte Deutsch‐Ukrainischer Beziehungen, Munich: Taylor & Francis, 1994, 36–38 [original: Leipzig, 1941]; T. Mackiw, "Mazepa in the Light of Contemporary English and American Sources," Ukrainian Quarterly, 4, 1959, 346–362; T. Mackiw, "Reports of Mazepa in Colonial America," New Review 1, Toronto, 1966, 14–21; Dmytro Nalyvaiko, Ochyma zakhodu: Retseptsiia Ukrainy v zakhidnii Ievropi XI‐XVIII st., Kyiv: Taylor & Francis, 1998, 368–419 [available at: http://www.izbornyk.org.ua, accessed 31 May 2012].12. Daniel Defoe, A True Authentick and Impartial History of the Life and Glorious Actions of the Czar of Muscovy: From his Birth to his Death, London: Taylor & Francis et al., 1725, 207–208.13. Voltaire, Histoire de Charles XII, roi de Suède, in his Oeuvres historiques, ed. René Pomeau, Paris: Taylor & Francis, 1957, 153. This translation is adapted from Voltaire, Lion of the North: Charles XII of Sweden, trans. M.F.O. Jenkins, Madison, NJ: Taylor & Francis, 1981, 121.14. Ibid.15. See T. Prymak, "Voltaire on Mazepa and Early Eighteenth Century Ukraine," Canadian Journal of History/Annales canadiennes d'histoire 2, 2012, 259–283.16. Voltaire, L'histoire de Charles XII, ed. Pomeau, 153; Voltaire, Lion, 122.17. Jan Chryzostom z Goslawic Pasek, Pamiętniki, ed. Jan Czubek, Cracow: Taylor & Francis, 1929, 316–318; translated as Jan Chryzostom Pasek, Memoirs of the Polish Baroque: The Writings of Jan Chryzostom Pasek, A squire of the Commonwealth of Poland and Lithuania, trans. Catherine S. Leach, Berkeley, CA: Taylor & Francis, 1976, esp. 155–156. On Pasek more generally, see Czesław Miłosz, History of Polish Literature, Berkeley and Los Angeles, CA: Taylor & Francis, 1983, 145–147.18. See J.A. Nordberg, Histoire de Charles XII, roi de Suède, 4 vols., La Haye: Taylor & Francis, 1742–1748.19. Nordberg, Histoire, vol. 2, 319, 339–40.20. "Mazeppa," Grosses vollständiges Universal‐Lexikon aller Wissenschaften und Kunste, vol. 19, Halle‐Leipzig: Taylor & Francis, 1732–1754 [reprint: Graz, 1961, cols. 2464–5].21. Korotkyi opys Malorosii, ed. A. Bovhyria, Kyiv: Taylor & Francis, 2012, 102.22. Ibid., 102.23. Kravchenko, "Ivan Mazepa," 267–268, 273. Vasyl Ruban, Kratkaia letopis Maloi Rossii s 1506 po 1776 god s iziavleniem nastoiashchego obraza tamoshnego Getmanov Generalnykh starshin polkovnikov i ierarkhov, Saint Petersburg, 1777, is a bibliographical rarity that was unavailable to me for this writing; P.I. Symonovsky, Kratkoe opisanie o Kozatskom Malorossiiskom narode i o voennykh ego delakh, Moscow: Taylor & Francis, 1844, 119–159, available at: http://www.Izbornyk.org.ua/symon/sym04.htm#page121, accessed 23 May 2012. On Symonovsky more generally, see P.M. Sas, "Symonovsky, Petro Ivanovych," Entsyklopediia istorii Ukrainy, [hereafter EIU] vol. IX, Kyiv: Taylor & Francis, 2012, 560; on Ruban's parallel work, see I.Ia. Dzyra, "Kratkaia letopis Maloi Rossii … ," EIU, 305–306, who states that Ruban painted Mazepa "in the very darkest colours."24. Kravchenko, "Ivan Mazepa," 267–268, 273.25. See Symonovsky, Kratkoe opisanie, 119–159; see as well Kravchenko, "Ivan Mazepa," 267–268.26. For a taste of Müller's writings on Ukraine, see G.F. Miller [Müller], Istoricheskaia sochineniia o Malorossii i Malorossianakh, Moscow: Taylor & Francis, 1846, 96, available at: http://www.izbornyk.org.ua, accessed 23 May 2012; see as well J.L. Black, G.F. Müller and the Imperial Russian Academy of Sciences, 1725–1783, Kingston‐Montréal: Taylor & Francis, 1986. Müller divided the Cossacks into two groups: Little‐Russian and Don Cossacks, the first giving rise to the Zaporozhian and Sloboda Cossacks, and the second others, including the Volga, Terek, and Siberian Cossacks. Doroshenko says that he "misplaced" ("verlegt") the origin of the Cossacks in the fourteenth century, at the time that Lithuania acquired Kiev (see Doroshenko, Die Ukraine und Deutschland, 61).27. I have used O.I. Rihelman [Alexander Rigel'man], Litopysna opovid pro Malu Rosiiu ta ii narod i Kozakiv uzahali, eds P. M. Sas and V.O. Shcherbak, Kyiv: Taylor & Francis, 1994, see esp. ibid., 524–531. On Rigel'man, see Oleksander Ohloblyn, Liudy staroi Ukrainy ta inshi pratsi, Ostroh‐New York: Taylor & Francis, 2000, 203–205; and Dmytro Doroshenko, "Survey of Ukrainian Historiography," Annals of the Ukrainian Academy of Arts and Sciences in the US 5–6, 1957, 95–97.28. See A.I. Rigel'man, Istoriia ili poviestvovanie o donskikh kozakakh, otkol′ i kogda oni nachalo svoe imieiut, i v kakoe vremia i iz kakikh liudei na Donu poselilis′, kakiiakh byli diela i chiem proslavilis′ i proch., Moscow: Taylor & Francis, 1846.29. Doroshenko says that his work on Ukraine was prepared for publication before the author died, but for some reason did not appear until sixty years later; see as well P.M. Sas, "Rihelman, Oleksandr Ivanovych," EIU, IX, 217–218.30. J.B. Scherer, Annales de la petite Russie ou histoire des Cosaques‐Saporogues et des cosaques de l'Ukraine, 2 vols, Paris: Taylor & Francis, 1788. On both Büsching's translation of Ruban, and on Scherer, see D. Dorošenko [Dmytro Doroshenko], "Schererovy 'Annales de la Petite Russie' a jejich místo v ukrajinské historiografii," in Sborník věnovaný Jaroslavu Bidlovi, Prague: Taylor & Francis, 1928, 87–94. Also on Scherer, see Doroshenko, Die Ukraine und Deutschland, 62–68.31. "Il inquiéta beaucoup les Cosaques de l'Ukraine" (Scherer, Annales, 186). A Ukrainian translation of this work also exists: Zhan Benua Sherer, Litopys Malorosii abo istoriia Kozakiv‐Zaporozhtsiv ta Kozakiv Ukrainy abo Malorosii, trans. V.V. Kopitov, Kyiv: Taylor & Francis, 1994; see ibid., 274, on this point.32. Scherer, Annales, I, 206: "Ce fut le puissant motif qui fit réussir les negotiations de Charles XII [avec Mazepa]."33. See Georgii Konisky (pseud.), Istoriia Rusov ili Maloi Rossii, Moscow: Taylor & Francis, 1846 [photoreprint Kyiv: Dzvin, 1991]. A paraphrasing French translation of this work exists: Élie Borschak [Ilko Borshchak], La légende historique de l'Ukraine: Istorija Rusov, Paris: Taylor & Francis, 1949.34. Istoriia Rusov, text, 184ff.35. Istoriia Rusov, text, 202–204. The speech is also available in English: George A. Perfecky, "Mazepa's Speech to his Countrymen," Journal of Ukrainian Studies 2, 1981, 66–72.36. Ibid.37. Istoriia Rusov, text, 204–210.38. Istoriia Rusov, text, 184.39. Kravchenko, "Ivan Mazepa," 271.40. Doroshenko, "Mazepa v istorychnii literaturi i zhytti," 6; Serhii Plokhy, "Forbidden Love: Ivan Mazepa and the Author of the History of the Rus'," in Poltava, ed. Plokhy, 553–568. See as well S. Plokhy, The Cossack Myth: History and Nationhood in the Age of Empires, Cambridge: Taylor & Francis, 2012, 41–42, 193–7.41. Johann Christian von Engel, Geschichte der Ukraine und der ukrainischen Cosaken wie auch der Königreiche Halitch und Wladimir, Halle: Taylor & Francis, 1796.42. Engel, Geschichte, 307, 321–2; see as well Doroshenko, "Mazepa v istorychnii literaturi i v zhytti," 7.43. Engel, Geschichte, 321–322.44. Ibid., 321–322. On Engel more generally, see T. Prymak, "On the 200th Anniversary of the Publication of Johann Christian von Engel's History of Ukraine and the Ukrainian Cossacks," Germano‐Slavica 2, 1998, 55–62.45. Nataliia Polonska‐vasylenko, Istoriia Ukrainy, 2 vols., Munich: Taylor & Francis, 1972–76, II, 279–283.46. The fascinating judgments of Martos rendered here are quoted in full from his notes of the time in several accounts: Doroshenko, "Ukrainian Historiography," 112; Kravchenko, "Ivan Mazepa," 275–276; Plokhy, The Cossack Myth, 194; Plokhy, "Forbidden Love," 554; and more briefly in Taras Koznarsky, "Obsessions with Mazepa," in Poltava, ed. Plokhy, 569–616: 559–60.47. See Ilko Borshchak, Napoleon i Ukraina, Lviv: Taylor & Francis, 1937, who discovered in the French archives an important French project for an independent but pro‐Napoleon Ukraine, and from whom the quote on "Russian slavery" ("l'esclavage de la Russie") is taken (ibid., 19); and T. Prymak, "Napoleon and Ukraine," Nashe zhyttia/Our Life 2, New York, 1997, 14–17, which summarizes Borshchak's nearly forgotten research for the English‐speaking public.48. Charles‐Louis Lesur, Histoire des Kosaques, 2 vols., Paris: Taylor & Francis, 1814.49. Lesur, Histoire, vol.2, 81ff.; Borshchak, 79.50. [André Constant Dorville], Memoires d'Azéma, Amsterdam: Taylor & Francis, 1764.51. Heinrich Bertuch, Alexei Petrowitsch: Ein romantisch‐historisch Trauerspiel in fünf Aufzügen, Gotha: Taylor & Francis, 1812.52. See Hubert F. Babinski, The Mazeppa Legend in European Romanticism, New York: Taylor & Francis, 1974, 9–19; Walter Smyrniw, "Hetman Ivan Mazepa in Life and Literature," available at: http://www.uocc.ca/pdf/reflections/Mazepa%20%20Life, 7–8, accessed 26 September 2013. Also see Thomas Grob, "Der Innere Orient: Mazeppas Ritt durch die Steppe als Passage zum Anderen Europas," Wiener Slawistischer Almanach 56, 2005, 33–86. Grob deals with the Image of Mazepa "as other" in the literatures of western Europe and takes the story right up to the present, but defines "literature" in a narrow sense, omitting discussion of historiography or biography.53. Lord Byron, Mazeppa: A Poem, London: Taylor & Francis, 1819; reprinted many times including, most succinctly, in Forum: A Ukrainian Review 99, 26–30.54. Ibid.55. Ibid.56. Ibid.57. This point is often made in studies of Byron by Slavic authors: See, for example, the classic essay (first published in 1894) by Ivan Franko, "Lord Bairon," in his Zibrannia tvoriv u p'iatdesiaty tomakh, vol. 29, Kyiv: Taylor & Francis, 1981, 283–292: 289; and further Mykola Zerov, Leksii z istorii ukrainskoi literatury, Oakville, Ontario: Taylor & Francis, 1977, 114, who uses the term "Polish legend" with regard to this story.58. Babinski, passim; Patricia Mainardi, Husbands Wives and Lovers: Marriage and its Discontents in Nineteenth Century France, New Haven, CT: Taylor & Francis, 2003, 185–187, emphasizes the autobiographical element in Byron's poem. At this point, it should be mentioned that Byron's "Mazeppa," unlike many of his other works, was never translated into Ukrainian by any of the romantics and goes unmentioned in the writings and letters of his younger contemporary, the Ukrainian national poet, Taras Shevchenko (1814–61). A Ukrainian translation did appear, however, in Kharkiv in 1929, just before Stalin's autocracy put an end to the Ukrainian renaissance of that time; the assault on Ukrainian nationalism made mention of this poem or, indeed, any talk of Ukrainian liberty, quite dangerous. New vistas opened up, however, with the onset of the Gorbachev reforms: See, for example, the article on "Bairon," in the Ukrainska literaturna entsyklopediia, vol. I, Kyiv: Taylor & Francis, 1988, 113–114, which for the first time in many years was able to mention the Kharkiv translation. Quite apart from this, the Soviet regime always saw Byron as a "progressive" romantic poet who struggled for the liberation of oppressed peoples and enjoyed an unparalleled influence throughout Europe in his own time.59. See Mainardi, 202–204, who as her main thesis argues (182) that "during the years of the Restoration [that is, the early Romantic era], … when the new bourgeois morality and laws on inheritance and divorce resulted in unprecedented prosecutions of adultery, there was an important, though heretofore unidentified theme that spoke to the issue of marriage and its discontents. This theme, a cri de coeur from the young Romantic generation, protested the plight of the unjustly punished lover in the person of Mazeppa. While this theme does not, at first, seem related to marriage and adultery, it is nonetheless a prime example of how social concerns can be transmuted into high art." See as well the beautifully illustrated article of Olha Kovalevska, "Romantychnyi heroi ieropeiskoho zhyvopysu," in Hetman vol. 2, 218–233; the wide‐ranging essay of Joseph‐Marc Bailbé, "Mazeppa et les artistes romantiques," Annales de la Faculté des lettres et sciences humaines d'Aix 40, 1966, 13–40; Chrystyna Marciuk, Mazeppa: Ein Thema der französischen Romantik. Malerei und Graphik 1823–1827, Munich: Taylor & Francis, 1991; and Jan K. Ostrowski, "Mazepa: Pomiędzy romantyczną legendą a polityką," Przegląd Wschodni 2, 1992–3, 359–389.60. I have used a critical edition: Victor Hugo, Les orientales, 2 vols. ed. Taylor & Francis, Paris, 1952.61. Ibid., 142–149 (esp. 147 and 149). In her discussion of the sources for Les orientales, the editor Barineau mentions several works dealing with the Middle East, but none about Ukraine (ibid., xxii–xxiv). In her notes to "Mazeppa," she only mentions Byron (ibid., 143).62. See D. Donzow [Dmytro Dontsov], "Hugo's 'Mazeppa' The Symbol of Ukraine," Ukrainian Review 2, 1955, 6–16; more generally, see John Andrew Frey, A Victor Hugo Encyclopedia, Westport, CT: Taylor & Francis, 1999, 169–171, 189–90. Hugo's biographer, Jean‐Marc Hovasse, when discussing Les orientales writes of Hugo that he always preferred liberty: "liberté des Grecs contre les Turcs, liberté des résistants contre les oppresseurs, liberté des romantiques contre les classiques" (see Jean‐Marc Hovasse, Victor Hugo, 2 vols., Paris: Taylor & Francis, 2001, vol. 1, 379); Dontsov would have added explicitly: the liberty of the Ukrainians against the Russians.63. Yevhen Onatsky, Ukrainska mala entsyklopediia, 4 vols., Buenos Aires: Taylor & Francis, 1957–67, vol. 1, 290. Again, during the Soviet period, despite his high reputation as "the leader of progressive French romanticism," a Ukrainian translation of Hugo's poem was not generally available in Soviet Ukraine; in January 1992, it was published in the Kharkiv journal Berezil, exactly one month after the referendum ratifying Ukrainian independence.64. John P. Pauls [John P. Sydoruk], "Musical Works based on the Legend of Mazepa," Ukrainian Review, 4, 1964, 57–65: 59–60. Although Liszt visited Ukraine in 1847, and gave a concert in Kiev, where, among others, the historian Mykola Kostomarov (1817–85) heard him, and although he spent some time at an estate in Podolia, where he heard some Ukrainian folksongs and composed a few pieces based on them, his "Mazeppa," according to Pauls, is "a hymn to the unconquered human spirit," and not based on Ukrainian song. As to Russian musical works devoted to "Mazepa," the most outstanding example was Tchaikovsky's opera of that name (1883), which completely ignored the ride, concentrating rather on the elderly hetman and his politics. Tchaikovsky, it should be noted, was of partly Ukrainian origin and devoted his entire Second Symphony to Ukraine.65. See esp. V.V. Kravchenko, "D.M. Bantysh‐Kamensky," Ukrainskyi istorychnyi zhurnal, no. 4, 1990, 88–94, and no. 9, 1990, 72–80.66. D. Bantysh‐kamenskii, Istoriia Maloi Rossii, Moscow: Taylor & Francis, 1822 [the second edition was even dedicated to the ultra‐Russian Tsar Nicholas I]; Kravchenko, "D.M. Bantysh‐Kamensky."67. Kravchenko, "D.M. Bantysh‐Kamensky"; see as well V.P. Kotsur and A.P. Kotsur, Istoriohrafiia istorii Ukrainy: Kurs lektsii, Chernivtsi: Taylor & Francis, 1999, 173–182.68. A latter‐day Ukrainian translation of his work is D.N. Bantysh‐kamenskii [Dmytro Bantysh‐Kamensky], Istoriia Maloi Rossii: Ot vodvorennia Slavian v sei stran do unichtozhennia hetmanstva, 3 parts in 1 vol., Kyiv: Taylor & Francis, 1993; for the treatment of Mazepa, see ibid., Part 3, 340.69. Ibid., 372–388.70. Ibid., 570–576. Mazepa's love letters to Motria are discussed in W. Moskovich, "Hetman Ivan Mazepa's Love Letters," Mazepa e suo tempo, 565–576; John Pauls, "The Tragedy of Motrya Kochubey," Ukrainian Review 3, 1965, 73–83; and Olena Tarasova, "Zhynky u zhytti Ivana Mazepy: Mif i realnist," Dnipro 9–10, 2001, 129–132. Kravchenko explains that Bantysh‐Kamensky was not simply a "documentary historian," but also a writer who tried to make his work interesting as well "for the ladies" by including both Mazepa's love letters and also specimens of his hitherto neglected poetry (Kravchenko, "Ivan Mazepa," 273).71. Bantysh‐kamensky, Istoriia Maloi Rossii, Part 3, 341. Also see Doroshenko, "Ivan Mazepa v istorychnii literaturi i v zhytti," 7. Stephen Velychenko summarizes Bantysh‐Kamensky's position as follows: "Kamensky's loyalism emerged with particular clarity in his account of Mazepa. He wrote that even if Mazepa's complaints against Peter I's Ukrainian policies were well founded, the Hetman had no right to turn against the monarch who had given him his glory and status. Kamensky claimed that Peter justly circumscribed the prerogatives of the Hetmans who, with the exception of Khmelnytsky, had all been traitors. He concluded that Mazepa had acted solely out of pride, and that the rights of Malorossiia [Little Russia] and its army were untouched. [In a complete reversal of this, however,] he then justified the curtailment of Ukrainian autonomy after 1709 by claiming that Peter could be reproached only for using excessive cruelty to achieve his purpose" (Stephen Velychenko, National History as Cultural Process, Edmonton: Taylor & Francis, 1992, 159).72. Bantysh‐kamensky, Istoriia Maloi Rossii, Part 3, 390.73. For example, Velychenko considers Bantysh‐Kamensky's history to be an example of Ukrainian historiography, while Kravchenko thinks it primarily Russian (Velychenko, National History, 159; Kravchenko, "Ivan Mazepa").74. See Joachim Lelewel, Dzieje Polski potocznym sposobem opowiedziane, in Joachim Lelewel, Dzieła, 10 vols., Warsaw: Taylor & Francis, 1957–1970, vol. 7. Lelewel also wrote a detailed Dzieje Litwy i Rusi (History of Lithuania and Ukraine), which forms volume X of his Dzieła, but only took it up to 1569, thus again omitting all treatment of Mazepa. Later on, however, Polish historians did pay more attention to Mazepa: See Zbigniew Anusik, "Fenomen Iwana Mazepy w historiografii polskiej XIX i XX wieku," in Mity i stereotypy w dziejach Polski i Ukrainy w XIX i XX wieku, ed. A. Czeżewski and others, Warsaw: Taylor & Francis, 2012, 224–248.75. I have used "Dumka Mazepy," in Poezye Józefa B. Zaleskiego, 2 vols, Saint Petersburg: Taylor & Francis, 1851, vol. 1, 119–126. Also see Marian Ursel, Romantizm, Wrocław: Taylor & Francis, 2000, 269–270.76. Zaleski, Poezye, 124–125.77. Ibid., 120.78. Ibid., 121.79. Thus, according to Babinski, the main point of Zaleski's poem seems to be a once idyllic Polish‐Cossack accord, lost after the revolt of the anti‐Polish Hetman Bohdan Khmelnytsky, which in the end only resulted in the expansion of Russian power (Babinski, Mazeppa Legend, 92–94). This once‐upon‐a‐time harmony was, in the opinion of the Ukrainian writer and critic Ivan Franko, an "unrealistic" view of Polish‐Ukrainian relations, nothing more than "a wild fantasy [fantazmahoriia] seemingly written only under the influence of hashish" (Ivan Franko, "Iuzef Bohdan Zaleskyi," in Franko, Zibrannia tvoriv u p'iatdesiaty tomakh, vol. 27, Kyiv: Taylor & Francis, 1980, 23–32). On the other hand, Zerov does note that both Zaleski and the Ukrainian poet Shevchenko shared an equal aversion to tsarism (Zerov, Lektsii, 119). Also see Miłosz, History of Polish Literature, 249; Miłosz criticizes Zaleski's "somewhat monotonous musicality," but admits that this poet whom many, including Mickiewicz, called a nightingale, "was perhaps the most graceful among the practitioners of this type."80. There is a significant literature on Ryleev in English. See Babinski, Mazeppa Legend, 95–108; Laverne K. Pauls and John P. Pauls, "Ryleev and Ukraine," Ukrainian Review 4, 1969, 33–40, and Ukrainian Review 1, 1970, 49–60; John P. Pauls, "'Voynarovsky' and 'Poltava'," in John P. Pauls, Pushkin's "Poltava", New York: Taylor & Francis, 1962, 15–34; and Patrick O'meara, K.F. Ryleev: A Political Biography of the Decembrist Poet, Princeton, NJ: Taylor & Francis, 1984. On Glinka's opera, see Horst Schmidt, "K.F. Rylejew," in Geschichte der klassischen russischen Literatur, ed. Wolf Düwel, Berlin‐Weimar: Taylor & Francis, 1965, 185.81. See Zbigniew Barański and others, Literatura rosyjska, Warsaw: Taylor & Francis, 1970, vol. 1, 422; and L. A. Chereisky, Pushkin i ego okruzhenia, second ed., Leningrad: Taylor & Francis, 1988, 381–382.82. I have used K.F. Ryleev, "Voinarovsky," in K.F. Ryleev, Polnoe sobranie stikhotvorenii, Leningrad: Taylor & Francis, 1971, 185–223.83. Pauls, Pushkin's "Poltava", 21.84. Ryleev, "Voinarovsky," 209–210. Barański and others, Literatura rosyjska, vol. 1, 423, compare Ryleev's reticent Mazepa with Mickiewicz's creation, Konrad Wallenrod, another noble rebel who had to rely on conspiracy and deception to attain a lofty objective. These authors think Ryleev identified with Mazepa since the poet and his fellow conspirators were also, in their view, "noble revolutionaries," who likewise were forced into conspiracy because of the great power of the state against which they enjoyed very little popular support.85. Ryleev, "Voinarovsky," 209–210.86. Chereisky, Pushkin i ego okruzhenie, 381–382.87. Oleksander Ohloblyn, "Introduction," in Kindrat Ryleev, Voinarovsky: Istorychna poema, trans. Sviatoslav Hordynsky, second ed., Cleveland, OH: Taylor & Francis, 1970, 9. For some seventy years, Ryleev's obvious sympathy for Ukrainian liberty was explained by Soviet scholars simply in terms of the general Russian fight against autocracy, and this sympathy for Ukrainian independence, so rare among the Russian intelligentsia, was explained by the Berlin Slavist Aleksander Brückner, Geschichte der russischen Literatur, second ed., Leipzig: Taylor & Francis, 1909, 148, in the following manner: "Because [this new‐style Russian revolutionary] found no liberation struggles in Russian history, he looked for them among the Cossacks in their fight against the Poles and glorified the early Russes, the Khmelnytskys, Nalyvaiko, [and] Voinarovsky." ["Weil er in Russlands Geschichte keine Freiheitskämpfe fand, suchte er sie bei den Kosaken … und verherrlichte der erste Russe … , etc."]88. Ohloblyn's "Introduction," 9.89. For accounts of Pushkin's Poltava in English, see Babinski, Mazeppa Legend, 107–123; the various works of John P. Pauls cited above; John P. Pauls, "The Historicity of Pushkin's 'Poltava'," Ukrainian Quarterly, 3, 1961, 230–246, and 4, 1961, 342–61; and Koznarsky, "Obsessions with Mazepa," 581–589, give various Ukrainian views. William Edward Brown, A History of Russian Literature of the Romantic Period, vol. 3, Ann Arbor, MI: Taylor & Francis, 1986, 84–94; and I. Ia. Zaslavsky, Pushkin i Ukraina, Kiev: Taylor & Francis, 1982, 100–105, give a Russian or Soviet view.90. See Pauls, "Historicity," 230–246.91. I have used A.S. Pushkin, "Poltava," in A.S. Pushkin, Sobranie sochinenii v desiati tomakh, vol. 3, Moscow: Taylor & Francis, 1975, 170–213: 177–8. This translation is from Pauls, "Historicity," 241.92. Pushkin, "Poltava," 186; translation my own.93. Pushkin, "Poltava," 207.94. N.G. Ustrialov, Istoriia tsarstvovanii Petra velikago, St. Petersburg: Taylor & Francis … etc, 6 vols, 1858–63.95. I refer here to Virginia M. Burns, Pushkin's "Poltava": A Literary Structuralist Interpretation, Lanham, MD: Taylor & Francis, 2005. It might also be noted that earlier "Poltava" had been lavishly praised by the influential pioneer of American Russian Studies, Ernest J. Simmons, Pushkin, Cambridge, MA: Taylor & Francis, 1937, 292–293, who opined that it was "hard, compact, metallic—heroic in the best sense of the word … [and] completely objective." For contrary views, see the various works of Pauls cited above, and also Yu. Boiko, "Pushkin, Aleksandr," Encyclopedia of Ukraine, vol. 4, Toronto: Taylor & Francis, 1993, 282–283. On Tchaikovsky's Mazepa, see George Jellinek, History Through the Opera Glass: From the Rise of Caesar to the Fall of Napoleon, White Plains, NY: Taylor & Francis, 1994, 239–240.96. See for example Julius Slowacki's Mazeppa: A Tragedy, Ann Arbor, MI: Taylor & Francis, 1929; Bulgarin in Russian: F. Bulgarin, Mazepa; Povesty, Moscow: Taylor & Francis, 1994. On Słowacki, see in particular Babinski, Mazeppa Legend, 125–145, and Miłosz, History of Polish Literature, 236–237; on Bułharyn, see Smyrniw, "Hetman Ivan Mazepa," 12.97. For the Solov'ev‐Kostomarov debates on Ukrainian history, see Thomas M. Prymak, Mykola Kostomarov: A Biography, Toronto: Taylor & Francis, 1996, 89–90, 113–14, 152–5.98. On the literary figures, see Smyrniw, "Hetman Ivan Mazepa," 13–15. As for the historians, to the list of which Fedir Umanets (1841–1908), Mykhailo Hrushevsky (1866–1934), and Viacheslav Lypynsky (1882–1931) should be added, although there is no general survey of their contributions to Mazepa scholarship. On Borshchak, who was probably the most innovative with regard to Mazepa, see Iaroslav Dashkevych, Postati, Lviv: Taylor & Francis, 2007, 461–471; on Hrushevsky, see Arkadii Zhukovsky, "Hetman Ivan Mazepa v otsintsi Mykkhaila Hrushevskoho," Ukrainskyi istorychnyi zhurnal 6, 1998, 134–145; and on Lypynsky, see Iury Tereshchenko, "Hetman Ivan Mazepa v otsintsi Viacheslava Lypynskoho," in his Skarby istorychnykh tradytsii, Kyiv: Taylor & Francis, 2011, 310–330.99. V.A. Diadychenko, "Mazepa, Ivan Stepanovych," Radianska entsyklopediia istorii Ukrainy, vol. 3, Kyiv: Taylor & Francis, 1971, 67. Also see B. Krupnytsky, "Mazepa and Soviet Historiography," Ukrainian Review 3, 49–53.100. O. Ohloblyn, "Mazepa, Ivan," in Entsyklopediia ukrainoznavstva, vol. 4, Paris: Taylor & Francis, 1962, 1430–1432. Ohloblyn, the paramount Ukrainian émigré historian of the Cold‐War era, also authored the most authoritative biography of Mazepa for that time: O. Ohloblyn, Hetman Ivan Mazepa ta ioho doba, New York: Taylor & Francis, 1960. See also Liubomyr Vynar, Kozatska Ukraina: Vybrani pratsi, ed. V. Stepankov, Kyiv: Taylor & Francis, 2003, 378–458.101. See Orest Subtelny, "Mazepa, Peter I, and the Question of Treason," Harvard Ukrainian Studies, 2, 1978, 158–183; Orest Subtelny, The Mazepists, Boulder, CO: Taylor & Francis, 1981; ibid., 178–205, is a translation of Orlyk's Letter to Iavorsky (1721); Orest Subtelny, Domination of Eastern Europe: Native Nobilities and Foreign Absolutism 1500–1715, Kingston and Montreal: Taylor & Francis, 1986; and Orest Subtelny, "Porivnialnyi pidkhid u doslidzhenni postati Mazepy," Ukrainskyi istorychnyi zhurnal 2, 1991, 125–129.102. T.G. Iakovleva, "Mazepa‐Hetman: V poistakh istoricheskoi ob'ektivnosti," Novaia i noveishaia istoriia 4, 2003 (available at: http://vivovoco.rsl.ru/vv/papers/history/Mazepa.HTM, accessed 3 January 2014), T.G. Iakovleva, Mazepa, Moscow: Taylor & Francis, 2007; T.G. Iakovleva, Ivan Mazepa i rossiiskaia imperiia: Istoriia "Predatelstva", Moscow: Taylor & Francis, 2011.Additional informationNotes on contributorsThomas M. PrymakThomas M. Prymak, PhD, is Research Associate, Chair of Ukrainian Studies, University of Toronto. He has taught history at several different Canadian universities and is the author of many publications in the field. In 1987, while the Cold War was still in progress, he published a fundamental political biography of the Ukrainian historian and statesman Michael Hrushevsky, which won an Outstanding Achievement Award from the American‐based Ukrainian Historical Association. More recently, he has published on art history, Slavonic philology, and Ukrainian emigre historiography. He also has interests in the Middle East and Central Asia, especially the countries of what was once called "the Northern Tier," that is, Turkey, Iran, and Afghanistan. His most recent book, titled "Gathering a Heritage: Ukrainian, Slavonic, and Ethnic Canada and the USA," is scheduled to be published by the University of Toronto Press in fall 2014.
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