UDC 81’362:811.162.1
O. Sukhomlynov
“RED SHIELDS” BY JAROSLAW IVASZKIEWICZ:
BETWEEN EAST AND WEST
The author of the article analyses the peculiarities of functioning of Ukraine’s image in the
historical work “Red Shields” by Jaroslaw Iwaszkiewicz. Researcher makes conclusions, that for
Jaroslaw Iwaszkiewicz the territory which is situated near the border between Polish-Ukrainian
frontier zone is the constituent part of Europe, and Italy is a symbolic imaginary territory of
Ukraine.
Special attitude connects the creative works of Jaroslaw Iwaszkiewicz with Ukraine. His
literary works and life were the main subjects of investigations of many scientists in the field of
philology, in particular these are works of Hryhorii Verves, Yuliia Bulakhovska, Roman
Radyshevskyi, Yuliia Kovaliva, Serhii Yakovenko, and also of P. Mitsner, Mariia Baranovska,
Andrii Bernatskyi, Tymophii Bureka, A. Hronchevskyi, M. Yendrykhovska, H. Zavorska,
Y. Kviatnykovskyi, Y. Lokh, V. Matsonga, H. Ritts, Y. Rohozinskyi, A. Sandauer,
A. Turchynskyi, Y. Tshandel, M. Cherminskyi etc. But, to our mind, we should pay special
attention to the analysis of imalogical presentations of Ukraine’s image in historical works of
this famous writer of Polish-Ukrainian frontier zone.
It is a well-known fact, that image of Ukraine in prose and poetic works of Jaroslaw
Iwaszkiewicz was changing together with the process of obtaining existential experience, which
hastened the evolution of writer’s conscious and world outlook. So, if the Ukrainian territory
functions as a fairy-mythical decoration in the prose of Kyiv period (“Flight to Baghdad”,
“Autumn Fest”, “Zenobia. Pallmyra”), the later works, in particular the novel “Moon Rising”,
are notable for axiology, autothematism and autobiographism, which are explained by the fact of
losing the Motherland and novelty, and even by foreignness and hostility of atmosphere of
Warsaw-Polish reality. The idealization and mythologization of the lost territory of “the small
Motherland” – Ukraine, are characteristic features of works which were written in Poland. The
main feature of the next period of Jaroslaw Iwaszkiewicz’s creative works is unusual process of
intensive recollection and comprehension of Ukrainian period, the process of giving new sense
to reality, which were seen through the prism of the past experience (series of “Italian” stories,
“Venetian lace I”, “Venetian lace II”, “Voci di Roma”). The author tries not only to give the
artistic expression of his Ukrainian emotional experience, but also to estimate and comprehend
historical processes, which determine the fate of individuality, and to shape up the new
Ukrainian image during that time (“Glory and Praise”).
It is important to mention, that the writer who is known as a traditionally apolitical
aesthete, wrote also on historical topics. Each piece of work of that kind was the peculiar form of
reaction to present day historical and political processes (“Red Shields”, “The Fight on the
Sadgemur Plain”) or to the process of self-outlook changes (“Night in June”, “Zarudia”). At first
sight the works which are different in many ways (genres, topic, problem, location of action and
historic time, situational circles, etc.) have, by the way, similar features, which determine
writer’s artistic style of “Glory and Praise”.
When we analyse historic prose works, which appeared in post-war period, we can make a
conclusion that existence of certain mechanism of transference of present day problems of
political reality of that time to the Medieval times is one of the attempts to run away from the
reality, which is connected with a tendency to think with the help of myth categories. We can
affirm, that main myths of Iwaszkiewicz, as a way he sees and reflects the world, were formed in
Ukraine and approximately coincide in time with the work on the libretto for the opera "King
Roger". This image expressed existential philosophy and relied on diverse ancient legends,
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which were compared with present time and modified in Szymanowski’s and Iwaszkiewicz’s
imagination.
The myth of cultural equality is basically connected with King Roger, ethnic situation in
Sicily and perception of the Dionysus’ image as a significant symbol. It was the beginning for
other Iwaszkiewicz’s myths, which in time became aesthetic and philosophical categories of the
writer’s macrotext.
Recognition of the writer is important in his relation to aesthetic Ukraine consciousness
and Italian lands: “Image of Italy and Sicily, new musical possibilities, sense of Bacchus
mysteries, definition of Greek myths, given by Zelinski, and, finally, opportunities to work for
the great theatre, belief in my own opportunities, – all these things were mixed in my head and
made my insomnia easier on the footstep of the train’s coach which loudly goes across full-ofscents night fields. Image of Sicily from conversations especially went deep into my memory
and ruffled my imagination. It was the image which Shymanovskyi had created for me and later,
many years later, I saw this with my own eyes. At the same time, when I was walking on the
land of my youth, I felt something similar between it and Empedokles’ homeland. Here and there
I saw West and East cultures which were superimposed on one another and created a specific
aura” [1:51].
Leaving Ukraine, Iwaszkiewicz tries to find himself at the “new place” and imagine Poland
and himself in Europe. In spite of the feelings of difference, as well as lingual, religious and
cultural distinctions which are already in “Return to Europe”, author of “Red shields” includes
Poland and Eastern lands to the countries of Mediterranean civilization, creating so called
“symbolical community” on the foundations of Ukrainian agitations and tragic experience.
Precisely in “Red Shields” Rome and Jerusalem, Sicily and Germany, Poland and Kyivska Rus
are presented to the reader in the light of Henryk Sandomyrski’s reflection, who is semantically a
central character and connects artistic world and two clearly separate parts of the novel: about
hero forming and Poland as a centralized and powerful kingdom [2:197]. Moreover, Hamlet’s
personality of Henryk Sandomyrskyi as an indecisive dreamer is perfectly inscribed into the
context of romantic problems, where we see distinct domination of antagonism: personality –
historical process. Thereby, Iwaszkiewicz keeps on considering about the problem of public
“rank and choice”, which firstly appears in the novel “Moon rises”
Back on topic, we should refer to Ukrainian or, even more, to Eastern motives. Rus is
presented in two aspects in the “Red shields”: as an integral part of medieval Polish scope
(permanent political, economic and family contacts) and personal Henryk’s anxieties. The image
of Eastern lands is closely connected with Verhoslava’s person: “It is very odd, for some reason
Royal Lake reminded him of the Dnipro, where he and his brother Boleslav used to swim, when
they were in Kyiv. What a beautiful city! The tops of its churches, mysterious St. Sophia
Cathedral, which was built by Yaroslav the Wise, rise above the river. Henryk was indifferent
about the reason why they came to that city at that time – some boring and useless business! It is
important that Verhoslava was born here…” [3.33].
It is interesting that Poland is described here simultaneously in two scopes: oriental and
occidental. Ivaszkiewicz particularly underlines the meaning of the country on the Wisla as the
peculiar bridge between Eastern and Western cultures. However, we may observe clear tendency
for Polish and Russian lands convergence: “Here is Henryk, she said [Agnesa – O.S.], – my
brother-in-law, a son of Countess of Berg, he wonders that I can speak Polish and Russian, that I
am like a Polish Countess, hold near Russian servants tied with shawls. I am an emperor’s
daughter and sister, I denied my Homeland to be Polish, and, maybe, I love Poland more than
Kryvoustyi loved it” [3:53].
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Linguistic and cultural interference that we see here is deprived of idealization and thus is
integral in the context of Iwaszkiewicz’s kress-borders (kress – is a borderland of the Old Poland
(Ukrainian lands), specific vision of Polish and Ukrainian history and relationships between two
nations. But author knew that those contacts had certain ambiguity. So, in spite of popularization
of the idea concerning integration, he gives us certain warnings: “If Kazymyr could govern in
Kyiv and I could govern in Krakow, thought Henryk, we would have a big power. Is it not
acceptable for God? Boleslaw I the Brave and Boleslaw II the Generous were there, but they had
to retreat in the face of the death that was stronger than their armies. But why did they want to go
there? Could they give the new look to these lands, change them?” [3: 291].
Later in the novel “Glory and Fame” (“Sława i chwała”), Iwaszkiewicz will try again to
give an estimate to the Poland’s role in the border between Poland and Ukraine. But this problem
in its geopolitical aspect had never been a major one for Ivaszkiewicz. In “Red Shields”
(“Czerwone tarcze”) Ukraine, like in other writer’s works, is a small Motherland, space for the
private experience and individual feelings of the hero and narrator. In the novel “The Moon
Rises” (“Księżyc wschodzi”) Ukraine is under the power of the remembrances and becomes the
product of mentions and reflections. We can explain these with the help of the nature of the
Iwaszkiewicz’s hero, who is more often ‘homo esteticus’ then ‘homo historicus’. Henryk
Sandomyrski is not an exception, he presents so called “atypical” for the early Middle Ages
prince, who left his progressive political ideas (strengthening of the Polish country through
autocracy) because their realization was connected with fratricide. If Henryk was a strong person
like Boleslaw, a powerful lord, who was able to ram his wish through, he wouldn’t be interesting
for Iwaszkiewicz.
For Henryk Sandomyrski his trip is the chance to get acquainted with new cultures, and the
process of recalling is a reflection of the past. It’s not by accident that the prince’s page said his
famous words: “Everything becomes memories”. “And that is why”, wrote Grigory Verves,
“Henryk is not interested in state affairs (though he should do this), he is daydreaming about
colours, maturity and delicacy of the real world, human and nature creation. We don’t see the
effect of the art, nature and people at the moment of their contemplation, but we can see that
later in the memories of our character. Henryk remembered Kyiv in his German castle,
remembered Krakow and his meeting with Verhoslawa after their parting in Sandomierz,
remembered his conversations with Roger and Barbarossa in totally improper circumstances…”
Henryk Sandomyrski reminds us of the author of the novel “The Moon Rises”, because for him
the process of recalling the past created an ideal situation for reflections about art.
Like novel “The Moon Rises” which shows us the “portrait of the young artist” through the
perspective of the loss of the native space, “Red Shields” multiplies cultural world of the
character thanks to the trip and in the regular – post factum – reflections gives the opportunity to
create broader conception of the cultural space that consists of Ukraine and Poland. Sending his
character to the far journeys to Poland, Germany, through Corinthia, Rome and Palermo – to
Jerusalem, Damascus, Alexandria, Balkans, the author doesn’t forget about his character
formation as a sophisticated aesthete, whom he can entrust his own feelings and impressions
from contemplation of art. The cultural heritage that we can see through the eyes of Henryk –
Saint Sophia Cathedral, the ruins of the Solomon’s Temple in the Jerusalem, Domus Aurea in
Rome, Coliseum, Capitoline Hill, Sicily Temples, Catholic Churches in Sandomierz – should
create the common space of the Mediterranean culture in which Kresses, especially Ukraine like
the country on the border of the East and West, should occupy the central place. The character
met Bolesław IV Kędzierzawy, Gertrude, German kaisers Konrad der Dritte and Friedrich I
Rotbart, Jerusalem Queen Melisandre and her son Baudouin du Bourg, sultan of Egypt and Syria
Saladin and Roger II of Sicily. So, the circle is closed. Iwaszkiewicz’s juvenile libretto for opera
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“King Roger”, which brought so unexpected experience of Sicily and Ukraine affinity echoed in
the novel “Red Shields”. This legacy may be observed on the other levels of text.
Not less important similarity with the prose of Kyiv period is a stylistic unity which may
be summarized as a domination of Byzantine style. Analysis of early poetry of Iwaszkiewicz’s
prose (especially the narrative of “Zenobia. Palmyra”), R. Przybylski underlines its similarity
with Oscar Wilde’s aesthetics which was called “byzantine”. The main features of this eastern
style is a resolute refusal from the nature imitation principles and decorative effect postulate and
characteristic of Wilde’s ability to connect these principles with the admiration for sensitive
nature beauty, made dominant two features for this poetry: formalism and sensitivity [5: 11]. For
Iwaszkiewicz and his Ukrainian experience “byzantiness” was directly connected with
Orthodoxy and heathenism cultures of Kyivska Rus.
Compared with the prose of Kyiv period, in the late Iwaszkiewicz’s novels he altered the
perception of Ukraine as well as the conception of the character formation, – “byzantine” style
remains invariable (which reminds about itself even in the late “Zarudda”). For the Ukrainian
writer this style means the art of “word weaving” – a characteristic feature of his poetic prose.
A. Turchinsky supposes that language beauty of early Iwaszkiewicz’ works owes to the
knowledge of Old Russian literature where poetry of word weaving is used widely. “Properly in
Kyiv the tradition of a beautiful church word and eloquence remained alive”. [6: 189-190].
It was byzantine aesthetics, specifically byzantine mosaic that inspired Ivaszkiewicz made
him look for the lost small Motherland in the Italian natural and cultural landscape. Ravenna’s
mosaic reminds Iwaszkiewicz of mosaic at St. Sofia Cathedral, but mosaic decorations of
Cappella Palatina in Palermo, in the palaces of Roger II and Wilhelm and the biggest and closest
mosaic composition in pure byzantine style of the XII century in Montreal Cathedral in Sicily
they are so similar to those of Kyiv that they should have been in writer’s mind while writing
libretto or “King Roger” and “Red Shields”.
Mastery, aesthetic charm and byzantine culture sophism according to Iwaszkiewicz
contrast with the western world in particular Gallic culture. Erudition and inclination for art of
Rus woman contrasts brightly with the image of “dark” Medieval Europe. Moreover, in that very
time when Henryk was in Bamberg, dreaming to show his darling the West miracle, he recollects
that Verkhoslava, Kyiv princess, “brought from Novgorod a secret art”. She created sacred
images on the wooden or even copper plates for Roman Catholic Church. This work was not
appropriate for a woman, that is why sometimes there was ill-disposed attitude to her creations,
but Verkhoslava did it with the great devotion and was praying for a long time before starting a
new sacred image – either it was Our Lady or God on the throne or other Saints. She was
drawing according to the sharpest canons and she never deviated from the established rules that
had been written on the wonderful parchment which she re-read attentively – it was written in
Greek. Poor Verkhoslava, being the granddaughter of Yaroslav the Wise, was not only familiar
with the art of reading, but also read in Greek! "[3: 27].
Among the main features of Byzantine aesthetics in "Red Shields" A. Turchinsky
emphasizes the symbolism of red (the importance of this element shows even the title of the
novel). "The Ukrainian folklore, which the author of" Red Shields "should have known, shows
that the red had the great symbolic importance for funeral ceremonies, actually as a variant of
gold and gold colour" [6: 145]. The gold and its colour that belonged at that time to the sacred
sphere were associated with priestly, princely or royal exclusivity. Since the gold was a sign of
God's presence – that is a sign of permanence, immutability, the red was counterpart in "this
world", symbolized variability, rebirth and transformation. The connection of the life and death,
manifested in symbolic red combined major stages of human life (birth, marriage, death and
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burial), was a special date just for orthodoxy. This can be seen in the Ukrainian and Belarusian
rite of Radonitsa (the second Easter Monday / Tuesday), which is very similar to the Greek
festivals of Demeter and Ceres [6: 146].
Red shields in the novel are a sign of armed forces of Golden-haired Duke, the symbol of
selection and higher purpose. For Henryk the red shields are the start of dream image of the
ideal, fair principality, is a projection of his dream of "Journey Beyond Three Seas", combining
fairy East and fantastic Sandomierz reality: "... dear Henryk’s shields. They were dark, red, and
made from leather, artificially coloured in Byzantium "[3: 363]. The bearer of red colour as in
connection with Byzantine, and at the same time Kress-Ukrainian aesthetics may be a woman
named Verhoslava. Her red gloves become a sexual fetish of the Rus princess and at the same
time a symbol of erotic desire of the prince who was in love with her. Henryk’s younger brother
named Casimir, like Boleslaw the Curved-Lips, married Elena, the princess of Kiev, who wore
red shoes during the wedding ceremony.
The researchers noticed that the red is a marginal colour, the color of transition from one
state to another, from sphere to sphere, from one reality to another [6, 148]. Thus, the red colour
can mean the transition from Henrik’s high purpose dream image to painful defeat or sacrifice,
but it can also be a symbol of the frontier, an area of intersection of different cultural traditions,
actually the move from one world to another. Not coincidentally, Iwaszkiewicz dresses King
Roger in the red coat, the true ruler of cultural and ethnic mosaic boundary, because the kingdom
of Sicily is located at the intersection of pagan, ancient world, on the one hand, and Christian and
Muslim world on the other hand. Here in Sicily they repeated the mysterious ritual of adoration
to Pan and Dionysus but with greater destiny of authenticity, as well as in "Autumn Uchta",
participants in this sexual ritual will be Henryk and Queen Sybil, for whom the mystery ends
with death [7: 131].
The writer, for whom the cultures of East and West were important due to the place of his
birth and maturity, was always between two poles, two vectors of European culture, namely
Byzantine and Gallic. "Red Shields" is the best example of the struggle between these two
worlds in aesthetic consciousness of the writer. Byzantine will win and finally choose their
artistic and spiritual Homeland – Italy, which was a unifying link between the worlds of the East
and the West [6: 207]. It is Italy (but the most of Sicily) that will become to Iwaszkiewicz the
imaginary space of symbolic frontier and the images of Ukraine and Italy will become the space
of cultural overlapping and interpenetration in terms of the lost Ukrainian Homeland.
Список використаних джерел та літератури
1. Iwaszkiewicz Jarosław. Ludzie i książki. – Warszawa, 1971. – 453 s.
2. Ritz G. Jarosław Iwaszkiewicz. Pogranicza nowoczesności. – Kraków, 1998. – 312 s.
3. Iwaszkiewicz Jarosław. Czerwone tarcze. – Warszawa: Czytelnik, 1971. – 421 s.
4. Вервес Г. Д. Ярослав Івашкевич. Літературно-критичний нарис. – К. : «Наукова
думка», 1978. – 223 с.
5. Przybylski R. Eros i Tanatos. – Warszawa, 1970. – 367 s.
6. Turczyński A. Ząb mądrości. Iwaszkiewiczowskie miejsca, znaki i symbole. –
Koszalin : Millenium, 2001. – 334 s.
7. Сухомлинов О.М. Польсько-українське культурне пограниччя у прозі Ярослава
Івашкевича (топіка і функціональність) [монографія]. – Донецьк : Юго-Восток,
2006. – 192 с.
SUCHOMŁYNOW O.M. „CZERWONE TARCZE” JAROSŁAWA IWASZKIEWICZA: POMIĘDZY WSCHODEM A
ZACHODEM
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Autor artykułu analizuje szczegóły funkcjonowania wiyerunku Ukrainy w dziele historycznym
Jarosława Iwaszkiewicza „Czerwone tarcze”. Badacz wnioskuje o tym że dla polskiego pisarza
polsko-ukraińskie pogranicze jest częścią przestrzeni europejskiej, a Włochy – wyobrażoną
symboliczną przestrzenią Ukrainy.
Sukhomlinov О. M. "Red shields" by Jarosław Iwaszkiewicz: Between East and West
The author analyzes the features of the functioning of the image of Ukraine in the historical work
of Jarosław Iwaszkiewicz "Red shields." The researcher concludes that the Polish-Ukrainian
border area as seen by the author is part of the European cultural space, and Italy – the
symbolic imaginary space of Ukraine.
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