From The Gates of Europe: A History of Ukraine, by Serhii Plokhy (Basic Books, 2017), Kindle pp. 215-218:
AMONG THE UKRAINIANS prepared to fight Napoleon with arms in hand was the founder of modern Ukrainian literature, Ivan Kotliarevsky. A native of the Poltava region in the former Hetmanate, he formed a Cossack detachment to join the struggle. The son of a minor official, Kotliarevsky studied in a theological seminary, worked as a tutor of children of the nobility, and served in the Russian imperial army, taking part in the 1806–1812 Russo-Turkish War. In 1798, while on military service, the first part of his poem Eneïda appeared in print, a travesty based on Virgil’s Aeneid, whose main characters were not Greeks but Zaporozhian Cossacks. As one would expect of true Zaporozhians, they spoke vernacular Ukrainian. But the choice of language for the poem seems logical only in retrospect. In late eighteenth century Ukraine, Kotliarevsky was a pioneer—the first to write a major poetical work in the vernacular.
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Kotliarevsky wrote the first part of Eneïda when the shell of Church Slavonic, which had dominated Russian imperial literature of the previous era, was crumbling and falling apart, allowing literatures based in one way or another on the vernacular to make their way into the public sphere. Russia found its first truly great poet in Alexander Pushkin; Ukraine got its own in the person of Kotliarevsky. Whatever his original motives for using Ukrainian, Kotliarevsky never regretted his choice. There would be five more parts of Eneïda. He would also author the first plays written in Ukrainian, among them Natalka-Poltavka (Natalka from Poltava), a love story set in a Ukrainian village. The language of Kotliarevsky’s homeland, the Poltava region of the former Hetmanate, would become the basis of standard Ukrainian for speakers of numerous Ukrainian dialects from the Dnieper to the Don in the east and to the Carpathians in the west. With Kotliarevsky, a new literature was born. The language received its first grammar in 1818 with the publication of the Grammar of the Little Russian Dialect by Oleksii Pavlovsky. A year later, the first collection of Ukrainian folk songs by Mykola (Nikolai) Tsertelev appeared in print.
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The birthplace of Ukrainian romanticism was the city of Kharkiv, where the imperial government opened a university in 1805, inviting professors from all over the empire to fill vacant positions. Being a professor at that time often meant taking an interest in local history and folklore, and Kharkiv had a rich tradition. It served as the administrative and cultural center of Sloboda Ukraine, settled by Ukrainian Cossacks and runaway peasants in the times of Bohdan Khmelnytsky. In the late eighteenth and early nineteenth centuries, this land was often referred to as “Ukraine.”
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The centrality of the Cossack past to romantic literary interests, already manifested by Kotliarevsky’s Eneïda, was further evidenced by the Kharkiv romantics’ readiness to embrace and popularize by far the most influential Ukrainian historical text of the period, Istoriia rusov (The History of the Rus’).
Well, my Kindle app has informed me that I’ve nearly reached the publisher’s limit in copying from the text of this book, and this seems a good place to end this series of excerpts—at the point where a national language begins to develop. So I have decided to buy the latest book by the same prolific author, and begin reading and posting excerpts from The Russo-Ukraine War: The Return of History (W. W. Norton, 2023), the first chapter of which summarizes many of the highlights that I have excerpted from this book.
Far Outliers 