Lesya Ukrainka: a biography worthy of film adaptation.

See Ukrainian Lesya. Literary encyclopedia. At 11 vol.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929 1939. Lesya Ukraine ... Literary encyclopedia

Pseudonym of the Ukrainian poetess Larisa Petrovna Kosach (1872 1913). Daughter of the Little Russian writer Olena Pchilka (see Kosach), niece of M.P. Dragomanova, Lesya from a young age entered into the circle of Ukrainian literary interests. Collection of poems by Lesya: On... Biographical Dictionary

- [pseud.; present name - Larisa Petrovna Kosach Kvitka; 13(25) Feb. 1871 – July 19 (Aug. 1) 1913] – Ukrainian. writer, publicist and literary critic. Genus. in Novgorod Volynsky. She was fluent in many European languages. IN… … Philosophical Encyclopedia

Pseudonym of the famous Ukrainian poetess Larisa Petrovna Kosach. Genus. in 1872. The daughter of the Little Russian writer Olena Pchilka, the niece of M.P. Drahomanov, L. entered the circle of Ukrainian literary interests from a young age. Collection of poems by L.... ...

Russian Ukrainian poetess and critic, collect. songs, r. 1872. (Vengerov) ... Large biographical encyclopedia

Lesya Ukrainka Ukrainian writer Birth name: Larisa Petrovna Kosach Kvitka Pseudonyms: Lesya Ukrainka Date of birth: February 25, 1871 Place of birth ... Wikipedia

- (pseudonym; real name and surname Larisa Petrovna Kosach), Ukrainian writer. Born into a noble family; daughter… … Great Soviet Encyclopedia

Ukrainian, Lesya- Lesya Ukrainka. UKRAINIAN Lesya (real name and surname Larisa Petrovna Kosach Kvitka) (1871 1913), Ukrainian writer. In the lyrics (collections “On the Wings of Songs”, 1893, “Echoes”, 1902; cycle “Songs about Freedom”, 1905) the spirit of freedom, courageous... ... Illustrated Encyclopedic Dictionary

Books

Lesya Ukrainka. Selected works, Lesya Ukrainka. This publication is one of the most complete collections of selected poetic works of the Ukrainian writer in Russian. All works are grouped in three sections:…
Lesya Ukrainka. Favorites, Lesya Ukrainka. Moscow, 1946. State publishing house of fiction. Publisher's binding. The condition is good. The book includes works by the Ukrainian poetess Lesya Ukrainka:...

A short biography of Les Ukrainka will introduce you to the main events of the poetess’ life and work.

Lesya Ukrainka(real name Larisa Petrovna Kosach-Kvitka) is a Ukrainian writer, translator, and cultural figure.

Lesya Ukrainka biography briefly

Born on February 25, 1871 in the city of Novograd-Volynsky. (Mother - Olena Pchilka, Father - a highly educated landowner, uncle - Mikhail Drahomanov). Writers, artists and musicians often gathered in the Kosachev house, evenings and home concerts were held

Studied with private teachers. At the age of 6 she started learning to embroider.

1881 marked the beginning of tuberculosis. Seriously ill Lesya is studying classical languages (Greek and Latin). In the fall of 1883, Lesya underwent surgery on her left arm; bones affected by tuberculosis were removed.

In December, Lesya returns from Kyiv to Kolodyazhnoe, her health is improving, and with the help of her mother, Lesya is studying French and German.

Since 1884, Lesya has been actively writing poetry (“Lily of the Valley,” “Sappho,” “The Redder Summer Has Passed,” etc.) and publishing them in the magazine “Zarya.” It was this year that the pseudonym “Lesya Ukrainka” appeared.

1885 A collection of her translations of works (prepared together with her brother Mikhail) was published in Lvov. The Ukrainian translated a lot (Gogol, etc.).

The level of her education can be evidenced by the fact that at the age of 19 she wrote the textbook “Ancient History of Eastern Peoples” for her sisters.

Having visited Galicia in 1891, and later Bukovina, the Ukrainian met many prominent figures of Western Ukraine (M. Pavlik, O. Kobylyanska, V. Stefanik, etc.).

1894 - studied at the art school of N. I. Murashko in Kyiv. In May, the poetess goes abroad to visit her uncle M. Drahomanov. She was treated for her illness in different countries, visiting Germany, Austria-Hungary, Italy, and Egypt. Repeated stays in the Caucasus and Crimea enriched her impressions and contributed to broadening the writer’s horizons.

The poetess spent 1902 undergoing treatment in San Remo (Italy); she lives in Odessa and Kyiv. Her collection of poems “Reviews” was published in Chernivtsi.

1903 dramatic poem “Babylonian Captivity”, poem “Smoke”.

1904-1905 - poetry “Jephaah’s Daughter”, “Inscription in the Ruins”, etc. Second edition of the collection “On the Wings of Songs”. “Autumn Tale”, “Songs from the Cemetery”, “Songs about Freedom”, poems “Dreams, Don’t Betray!”, “Intoxicated at Bloody Feasts ...”, dialogue “Three Minutes”.

At the beginning of March 1907, Lesya Ukrainka moved from Kolodyazhny to Kyiv.

On August 7, 1907, Lesya Ukrainka and Kliment Kvitka officially registered their marriage in the church; they live in Crimea. The poetess completes the dramatic poem "Cassandra". Gendarmes search Kosachev's apartment and confiscate 121 books. L. Ukrainka and her sister Olga were arrested.

In 1908, Lesya Ukrainka was in Yalta, Kyiv, Odessa, Yevpatoria, Batumi, and Tbilisi. I went to Berlin for a consultation with a professor on kidney surgery.

The last years of L. Kosach-Kvitka’s life were spent traveling to hospitals in Egypt and the Caucasus.

Lesya Ukrainka is a writer who worked in various genres, be it journalistic translations, poetry, elegies or plays. During her short life, Lesya composed a number of works and published collections of poetry, which after a while became immortal.

Larisa Petrovna Kosach (the real name of the writer) was born on February 13 (25), 1871 in the city of Novograd-Volynsky, located in the Zhitomir region of Ukraine. The future poetess grew up in a noble family of noble origin, her parents came from Left Bank Ukraine, descendants of a Little Russian Cossack elder who professed the Orthodox religion.

Lesya's father, Kosach Petro Antonovich, was an educated landowner originally from the Chernigov nobility, and during his university years he was interested in literature, mathematics and law. After graduating from Kyiv University, he entered the Kyiv Chamber of Criminal Court as a candidate for judicial investigator. The writer's father began his career with the rank of collegiate secretary and for excellent service was transferred to full state councilor.

Petro Antonovich loved literature, music and was fond of painting. Friends with similar interests often gathered in his house, enjoying songs, works of classics, and also admiring paintings.

Petro Antonovich's wife, Olga Petrovna, the sister of the famous publicist Mikhail Petrovich Drahomanov, was fond of writing. According to rumors, Larisa was not a desired child for Olga Petrovna. The woman could not recover from her first child, Mikhail, moreover, the pregnancy was difficult, and after the birth of the girl, the milk completely disappeared.

Olga Petrovna was an erudite woman who knew many languages: European, Slavic, ancient Greek and Latin. The mother gave an excellent education to the children at home; for example, as a 19-year-old girl, Lesya compiled a textbook for her sisters called “Ancient History of Eastern Peoples.” It is also known that the homemaker purchased Ukrainian books for the club library, translated several stories by Nikolai Vasilyevich Gogol into Ukrainian and published her own collection of poems.

Lesya Ukrainka was raised with her younger sister Olga (1877) and older brother Mikhail (1869). Mikhail Petrovich was also not far from creativity; from his pen came a number of remarkable stories and short stories published in periodicals. He translated Gogol, Vladimir Korolenko, Henryk Sienkiewicz, and Francis Bret Harte into his native language.

Brother and sister were inseparable, for which they received the common nickname Michelosie from their parents. The boy and girl were educated at home and studied with private teachers. The future writer learned to read early - as a four-year-old child, Lesya was already reading folk tales with might and main. And at the age of five, Lesa composed short musical plays.

In 1882, there was an addition to the Kosach family - a daughter, Oksana, was born, and then Mikola (1884) and Isidora (1888) were born. The girl’s childhood was not cloudless: when Lesya was 10 years old, she caught a cold. The disease was severe, Petro Antonovich’s daughter experienced acute pain in her leg and arm. Initially, doctors believed that the Ukrainian woman had acute rheumatism, and the girl was treated with warming baths and healing ointments. But all attempts were in vain.

In 1883, Lesya was diagnosed with bone tuberculosis, as a result of which the girl’s hand was operated on and she was left crippled. Therefore, there was no talk about the musical career of Lesya, who was excellent at playing the piano.

Among other things, the future writer tried to learn painting and even enrolled in a specialized school, where she learned to draw under the supervision of Nikolai Ivanovich Murashko. True, the girl did not work out with brushes and paints: Lesya did not want to make the profession of an artist her vocation. It is noteworthy that only one painting by the poetess remains from that period.

Literature

Lesya Ukrainka composed her first poem out of emotional distress. The fact is that in the spring of 1879, Aunt Elena Antonovna Kosach was arrested and sent to Siberia for a period of five years for allegedly attempting to assassinate Adjutant General Alexander Romanovich Drenteln. It is worth saying that Lesya and Aunt Elya, Petro Antonovich’s sister, had a warm relationship.

The woman often came to look after the children, and her friendship with the future writer left a noticeable mark on the later life and work of the poetess. Upon learning of the arrest, the eight-year-old girl writes her debut dramatic poem entitled "Hope" (1879–1880).

When Larisa Kosach was 12 years old, she began to write and publish in the magazine “Zorya”, and also translated “Evenings on a Farm near Dikanka”. Around the same time, the girl acquired a creative pseudonym. In 1883, the first collection of poems by the young poetess, “On the Wings of Songs,” was published.

It is worth saying that Lesya’s literary activity took place in the era of imperialism, the first Russian revolution, and clearly defined directions were defined in the Ukrainian creativity of those times. The Ukrainian did not adhere to any movement: the girl did not consider herself either a decadent or a naturalist, but she was imbued with revolutionary ideas. Her works contain echoes of romanticism rather than realism.

After Lesya got married, she began to work at an accelerated pace. On May 5, 1907, the Ukrainian completed the popular poem “Aisha and Mohammed”, and also completed the work “Cassandra”, which began in 1893. In the same 1907, Lesya worked on the works “Beyond the Mountain of Lightning,” “In the Pushcha” and “Rufin and Priscilla.”

Personal life

Lesya's first chosen one was public figure Sergei Merezhinsky, whom the writer met in 1898. True, this love brought Larisa Petrovna not wings of happiness, but great grief: Sergei Konstantinovich died of tuberculosis. Shortly before the death of her beloved, Lesya came to see the sick Sergei, and on one of the cold winter evenings the writer’s creative biography was supplemented by the drama “Obsessed” (1901).

In 1907, the poetess moved to Crimea with her new boyfriend, Kliment Vasilyevich Kvitka, who was considered one of the founders of Soviet musical ethnography. It is noteworthy that the young people met back in 1898, when Larisa Petrovna recited her story “Over the Sea” in the literary and artistic circle of Kyiv University.

Kliment Vasilyevich was also sick with tuberculosis, and it can be said that a hasty move to Crimea saved his life, because the mild climate and active treatment made the deadly disease recede. The lovers legalized their relationship on August 7, 1907; there were no children in the couple.

Death

A serious illness forced the writer to undergo treatment at resorts since childhood. Thus, in the last years of her life, Larisa Petrovna Kosach stayed in hot countries - Egypt and Georgia. However, all Lesya’s efforts to overcome bone tuberculosis were in vain: it seemed that the disease was not receding, but, on the contrary, was inexorably progressing. In addition, kidney disease was added to all Larisa Petrovna’s ailments.

But, despite her physical disability, Lesya found the strength to engage in creativity. In the last years of her life, she presented lyrical works to the public: the extravaganza drama “Forest Song”, the poem “Orgy”, the epic triptych “What will give us strength?”, “Orpheus’ miracle”, “About a giant”.

The great Ukrainian writer died on July 19 (August 1), 1913 at the age of 42. The poetess's grave is located at the Baikovo cemetery in Kyiv. Many streets were named in memory of the talented poetess, a museum and the National Academic Theater of Russian Drama were opened. It is noteworthy that in 2001, Lesya’s portrait was placed on the Ukrainian 200 hryvnia banknote.

Bibliography

1893 – “On the Wings of Songs”
1899 – “Thoughts and Dreams”
1902 – “Responses”
1911 – “Forest Song”

Lesya Ukrainka– literary pseudonym of Larisa Petrovna Kosach (Kvitki) (13 (25).02.1871 – 19.07 (1.08).1913), the great Ukrainian poetess and playwright.

Lesya was born into the family of Ukrainian intellectuals Pyotr Antonovich Kosach and Olga Petrovna Kosach (from the Drahomanov family). Petr Antonovich is a lawyer by profession, a graduate of Kyiv University, and served in the Volyn province in institutions for peasant affairs for most of his life. He was a member of the Kyiv "Old Community", where he met Mikhail Petrovich Drahomanov and his younger sister Olga.

Lesya was born in the city of Zvyagel (Novograd-Volynsky); in 1879 the family moved to Lutsk, and in 1882 to their own estate in the village of Kolodyazhnoye near Kovel. It was Kolodyazhnoe, where she was formed as a person, that Lesya considered her small homeland.

Already in early childhood, two main features appeared in Lesya’s life - her illness and her extraordinary abilities.

Diseases. Lesya was born very weak and then looked fragile. Her family lovingly called her Zeichka (thin blade of grass). In 1880, she began to show signs of a chronic illness that could not be identified for a long time. It turned out that this is a very unpleasant form of bone tuberculosis (coxitis). On October 11, 1883, Lesya underwent surgery on the affected bones of her left arm, but it soon became clear that the bones of her right leg were also affected.

The pain in her leg, either subsiding or intensifying to the point of unbearable, haunted Lesya until 1899, when she underwent a successful operation in Berlin. Having recovered from it, Lesya was finally able to walk relatively freely.

Beginning at the end of 1907, Lesya began to show signs of kidney tuberculosis. The only way to treat this disease was climatic treatment in Egypt, where Lesya spent the winter seasons of 1909 - 1910, 1911, 1912 - 1913. These were palliative measures that slowed the progression of the disease, but could not stop it. In a state of extreme exhaustion from poor kidney function, Lesya died at the age of 43 in the town of Surami in Georgia.

Capabilities. Already in early childhood, Lesya discovered her extraordinary abilities (she can safely be called Wunderkind). She learned to read very early and already at the age of five she wrote her first letters to Geneva, to the family of her uncle Mikhail Drahomanov. At the age of nine she wrote her first poem, “”, and at the age of 13 she already had 2 poems published. These works appeared under the pseudonym “Lesya Ukrainka”, which was suggested by her mother. At the age of 14, Lesya was the author of two published translations of Gogol’s stories and her first poem “.”

Lesya loved music very much and had great ability to play the piano. She could not develop them due to a hand disease.

Due to the same illness, Lesya was never able to attend school and gained knowledge from her mother, private teachers and constant reading of books.

Lesya had an excellent ability for languages and said about herself that apparently there was no sound that she could not pronounce. She spoke fluent Ukrainian, Russian, Polish, Bulgarian, German, French and Italian, wrote her works in Ukrainian, Russian, French and German, translated from ancient Greek, German, English, French, Italian and Polish. She knew Latin well, and during her stay in Egypt she began to study Spanish.

A brilliant knowledge of languages opened up to her all the riches of European literature, the newest works of which she could read in the originals.

Creation. The main theme of Lesya Ukrainka’s work is the national liberation struggle of the Ukrainian people, confidence in the inevitable victory in this struggle. Starting from such early works as the poem "" (1888) and the poetic cycle "" (1891), due to the high pathos of "" (1895 - 96) - to "" and "" (1913), completed in the last year of her life - Lesya Ukrainka gave more and more new images of uncompromising freedom fighters against tyranny of all kinds.

This political poetry was never agitation adapted exclusively to the needs of the moment. Without giving any advice regarding the program and tactics of the revolutionary struggle, about specific ways to implement the ideals of freedom, and without even mentioning the word “Ukraine,” Lesya showed romantic pictures of this struggle.

No matter what area she takes her stories from - from ancient Egypt ("", 1906), or from the history of the ancient Jews ("", 1903, "", 1904), or from the era of early Christianity ("", 1908, "" , 1911), or from the European Middle Ages ("", "", 1893) - everywhere we see clearly defined positive heroes, the personification of courage, honesty, and devotion to ideals. And we see a camp of despots emboldened by impunity, the personification of violence, debauchery and demoralization. The clash of these forces, in accordance with the rules of romanticism, most often ends tragically, but the death of Lesya Ukrainka’s heroes always turns out to be a necessary step towards victory.

The main sources of Lesya Ukrainka’s creativity were her inner experiences and literary impressions (on which the above-mentioned works are based). Her experiences were reflected in a number of brilliant lyrical poems, ranging from the early cycle "" (1891) to the cycles "" (1910) and "" (1911), written in the full flowering of her talent. Some of her other works flow from the same source, for example, the story “” (1897).

But observations of modern life, which are usually the source of a writer’s creativity, did not have significant significance for Lesya Ukrainka, although her works such as the story “” (1894) or the story “” (1898) stem precisely from this third source.

Lesya Ukrainka's stylistic searches were not limited to romanticism: we have her works in the spirit of decadentism ("", 1896), realism (the already mentioned "Only Son", "Over the Sea", "", 1905) and even pure aestheticism without a clear ideological orientation (" ", 1911). However, the romantic style always remained dominant in her work.

Translations. In 1889, Lesya Ukrainka outlined a large program of translations of works of world literature into Ukrainian to her brother Mikhail. As part of this program, she translated the works of G. Heine - “” (1890), the poem “” (1893) and other poems. Among her translations are hymns from the Rig Veda (1890), poetry of Ancient Egypt (1910), attempts to translate the works of Homer, Dante, Shakespeare, and Byron.

The ideological orientation of Lesya Ukrainka’s translations is best evidenced by her work on G. Hauptmann’s drama “” (1900), the theme of which is the workers’ uprising in Silesia in 1844.

Folklore. Lesya Ukrainka has been interested in Ukrainian folklore throughout her life. She knew a lot of folk songs (about 500) and was herself an outstanding bearer of folklore. Her first work on folklore - "" - was published in 1891, and the last large cycle of songs from her voice was recorded by her husband K.V. Kvitka in 1913.

Lesya Ukrainka and Kliment Kvitka were the first Ukrainian folklorists who began recording the performance of folk chants on a phonograph. In 1908, Lesya allocated 300 rubles from her small funds for Filaret Kolessa, thanks to which he was able to write down many thoughts for his fundamental publication.

Social activity. Since any social activity was prohibited in the Russian Empire, every attempt in this direction became illegal and revolutionary. In 1897 – 1900, Lesya Ukrainka translated works of European social democratic literature into Ukrainian in order to provide material for self-education to Ukrainian social democratic circles.

The period of most active participation in the revolutionary movement occurred in 1902–1903, when, while in San Remo (Italy), Lesya Ukrainka corresponded with Felix Volkhovsky in London and Mikhail Krivinyuk in Prague. The topic of the correspondence was the publication of illegal literature, from which the translation “” has come down to us. At that time, Lesya Ukrainka was preparing a work entitled “Our Life Under the Tsars of Moscow,” which has not been found today.

After the 1905 revolution, some opportunities for legal social work appeared. In June 1906, Lesya Ukrainka was elected to the board of the Kyiv Prosvita, where she was in charge of the library. This activity of hers already in November 1906 attracted the attention of the tsarist gendarmes: the opening of a public library was refused, and Lesya Ukrainka’s participation in Prosvita was regarded as a compromising fact both for Lesya personally and for the entire organization.

The logical consequence of these gendarmerie studios was the arrest of Lesya Ukrainka (January 17–18, 1907), and subsequently the closure of Prosvita itself.

After 1907, Lesya Ukrainka, due to family circumstances and progressive illness, was forced to live mainly outside of Ukraine and was not able to take part in public affairs. At this time, she focuses on the main work of her life - poetic creativity.

Heritage. During her lifetime, Lesya Ukrainka managed to publish three collections of her poems in separate editions: “” (Lviv: 1893), “” (Lviv: 1899), “” (Chernivtsi: 1902). In Kyiv in 1904, a book of selected poems entitled “On the Wings of Songs” was published, which suffered greatly from Russian censorship; in 1911, the Kiev publishing house “Kolokol” published the first volume of works, which turned out to be the last.

The next stage of studying the legacy of Lesya Ukrainka falls on the years 1920–1930. At this time, the collected works were published in 7 volumes (1923 - 1924, edited by K. V. Kvitka) and in 12 volumes (1927 - 1930, edited by, not completed). These publications were carried out by Ukrainian patriots and they are still of great value.

This stage was grossly distorted by political repressions controlled from Moscow. All studio participants were destroyed or deprived of the opportunity to work in their specialty.

Therefore, the next, Soviet stage (1950 - 1991) began as if from scratch. It was led by completely new people who did not receive any legacy from the previous stage, and even mentions of previous explorers were carefully crossed out. At this time, the works of Lesya Ukrainka were published in 5 (K., 1951 - 1956), 10 (K., 1963 - 1965) and 12 volumes (K., 1975 - 1979). Despite the hostile attitude towards Ukrainians and political censorship, these publications still contained something new, previously unknown from the poetess’s heritage.

The fourth stage of development of Lesya Ukrainka’s heritage began during independence (since 1991) and continues to this day. At this stage, the main focus was on talk of the need to print a new edition of the works in 16 volumes (but as of 2014, not a letter from this edition had yet been printed).

During the same period, our electronic edition of Lesya Ukrainka’s works was created, which today is the most complete and best-researched corpus of her works. This publication contains many technical and content innovations and can serve as a model for modern publications by other authors, such as, and.

For all of us who do not remember history and are new to cultural heritage.

Lesya Ukrainian is not Lesya at all, and not Ukrainian at all (she is not Ukrainian at all).

Real name is Larisa Petrovna Kosach. Lesya's (Larissa's) parents, Pyotr Kosach and Olga Dragomanova, were Russians, or rather Rusyns. The family of Olga, Lesya-Larissa’s mother, came from Greek roots.

However, Lesya’s mother also dabbled in poetry and published under the pseudonym Olena Pchilka. In principle, Ukrainian was not the native language of either “Lesya” or “Olena”, but there was an order for Ukrainization, and customers from Austria paid well for the work. A family friend was Ivan Yakovlevich Franko (also a Rusyn?), in fact, he was also in this business. As they say, “nothing personal” And only Lesya’s (Larissa Petrovna’s) dad Pyotr Antonovich Kosach was an ardent defender of the Russian language and the unity of all Russians (Great Russians, Little Russians, Belarusians...). Who remembers this now? After all, even in the Soviet period, it was considered indecent to remember this...

Some details (you can double-check this version if interested): http://alternatio.org/articles/item/2073-victim-mother-little-known-Lesya-Ukrainian

And this is Lesya-Larissa’s mother. “Noble maiden” of the Russian Empire and corresponding member of the Academy of Sciences of the Ukrainian SSR, daughter of a landowner and niece of the Decembrist Yakov Yakimovich Drahomanov... http://podgift.ru/mans3_5r.htm

And here is Lesya’s (Larissa’s) great-uncle. Yakov Akimovich (Yakimovich) Drahomanov. Decembrist, i.e. Freemason, member of the Society of United Slavs. Although he opposed the Russian state system, he was a true internationalist. And, as the name of the society suggests, he advocated the unity of the Slavs (in any case, such a goal was declared). By the way, he was a very worthy, honest and brave man and officer. Although on the day of the Senate uprising he was in the hospital and was not threatened with hard labor, he honestly admitted his revolutionary beliefs and did not deny his participation in the conspiracy... http://www.hrono.ru/biograf/bio_d/dragomanov_jakov.php

http://ru.wikipedia.org/wiki/%C4%F0%E0%E3%EE%EC%E0%ED%EE%E2,_%DF%EA%EE%E2_%DF%EA%E8%EC %EE%E2%E8%F7

Continuing to dig a little deeper around the “apple tree”, next to which Dragoman’s “apples” fell, we find this. The Society of United Slavs, as it turns out, advocated federalization. Those. for the unification of all Slavs in a single large state: “Russia, Poland, Bohemia, Moravia, Hungary with Transylvania, Serbia, Moldavia, Wallachia, Dalmatia and Croatia. Members of society considered Hungarians to be Slavs.” As you can see, Ukraine is not on this list (i.e. it is part of Russia). At the same time, within the framework of a federal state, the “Slavs” proposed to clearly define the borders of each of the states included in the federation (it was not proposed to divide Russia into Great, Small, New, Red, White, etc. parts of Rus'). The Society of the United Slavs was perhaps the most peace-loving (though some consider it the most warlike) of all the Decembrist communities. Although it joined the general plan of regicide (some members of this society took an oath accordingly), the “Slavs” categorically opposed the armed uprising, because. military revolutions (!) “are not the cradle, but the coffin of freedom, in the name of which they are committed.” However, for the freedom of the people they were ready to shed their own blood...

http://www.hrono.ru/libris/lib_n/nechk15.php

This is not about the origins of the poets, but about the origins of the idea of dividing Russia and Ukraine (and the resulting bloodshed). And about the origin of the most modern Ukrainian language, tailored to order... And what’s interesting: neither the customers nor the performers were Ukrainians in the ethnic sense. However, Pushkin also had a hand in the creation of the modern Russian language. But he did not do this by order of the interventionists, and the idea of a new Russian (“Moskal”, i.e. Pushkin!) language does not even contain a shred of thought about the need to divide the large Russian Slavic community.

I recommend reading this text, written by Panteleimon Kulish, one of the inventors of modern Ukrainian (its first version, which bears little resemblance to the chimera used by modern Ukrainian politicians).