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Taras Hryhorovych Shevchenko (; ; 9 March 1814 – 10 March 1861) was a Ukrainian poet, writer, artist, public and political figure, folklorist, and ethnographer. He was a fellow of the Imperial Academy of Arts and a member of the Brotherhood of Saints Cyril and Methodius. He wrote poetry in Ukrainian and prose (nine novellas, a diary, and his autobiography) in Russian language, making him one of many iconic figures which belong to several Slavic language cultures.
The town of Aktau in Kazakhstan was named after Shevchenko in the period of Soviet authority. His literary heritage, in particular the poetry collection Kobzar, is regarded to be the foundation of modern Ukrainian literature and to some degree also of the modern Ukrainian language.
In 1816, the family moved to Kyrylivka (modern ), another village owned by Engelhardt, where Taras's father and grandfather had been born. The boy grew up in the village. Once, he went looking for "the pillars that prop up the sky" and got lost. (travelling merchants) who met the boy took him back to the village. From 1822, Shevchenko was sent to a school, where he was taught to read and write. His teacher was the precentor of the village church, whose nickname was "Sovhyr". He was a harsh disciplinarian, who had a tradition of birching the children in his class every Saturday.
On Kateryna Shevchenko died. The widowed Hryhoriy, left to look after six children aged from thirteen to four, had little choice but to remarry. He was married to Oksana Tereshchenko, a widow from Moryntsi, who had three children of her own.
When Hryhoriy Shevchenko became a chumak, Taras travelled twice with his father and his older brother away from his neighbourhood and, for the first time in his life, on to the open steppe. Hryhoriy died from a chill on , and for a period the children's stepmother ruled the family, treating Taras and those siblings still at the family home with great cruelty, until she was expelled by their grandfather, Ivan Shevchenko. For a period Taras lived with his grandfather and his father's brother Pavlo, and was made to work as a swineherd and a groom's assistant. At the age of 12, he left home to work as a student assistant and a servant for a drunkard named Bohorsky, who had replaced Sovhyr as the village precentor and teacher and was even more violent than his predecessor. One of Shevchenko's duties was to read psalms over the dead. He was treated still more violently by Bohorsky once the boy's stepmother became his mistress.
In February 1827, the 13-year-old Shevchenko escaped from the village and worked for a few days for a deacon in Lysianka, before moving on to Tarasivka. Frustrated in his attempts to become an artist, he returned to his home village. At around this time, Shevchenko experienced his first love, , as confirmed by a dedication he later wrote in the poem :
There is evidence that during this period of his life, Shevchenko was trained by his older brother Mykola to become a wheelwright, and that he also lived with and worked for the family of Hryhoriy Koshytsia, the Kyrylivka priest, who treated Taras well. His duties included driving the priest's son to school, and transporting fruit to markets in Burty and Shpola.
In 1829, Shevchenko was part of Engelhardt's retinue that travelled to Warsaw, where his regiment was based. By the end of 1829 they had reached Vilno (modern Vilnius). On , Engelhardt caught Shevchenko at night painting a portrait of the Cossack general Matvei Platov. He boxed the boy's ears and ordered him to be whipped. When the party reached Warsaw, Engelhardt arranged for his servant to be apprenticed to a painter-decorator, who, recognising the boy's artistic talents, recommended he receive lessons from the Polish painter and professional artist, Franciszek Ksawery Lampi.
When the November Uprising broke out in 1830, Engelhardt and his regiment were forced to leave Warsaw. His servants, including Shevchenko, were later expelled from the city, forced to leave Polish territory under armed guard, and then made their way to St. Petersburg. Upon arriving there, Shevchenko returned to the life of being a page-boy. His artistic training was delayed for a year, after which he was permitted to study for four years with the painter , a man who proved to be much more cruel and controlling than his master in Warsaw. The summer nights were light enough for Shevchenko to visit the city's Summer Garden, where he drew the statues.
In his novel Artist, Shevchenko described that during the pre-academical period he painted such works as Apollo Belvedere, Fraklete, Heraclitus, Architectural barelief, and Mask of Fortune. He participated in the painting of the Bolshoi Theatre as an apprentice. The composition Alexander of Macedon shows trust towards his doctor Philip was created for a contest of the Imperial Academy of Arts in 1830.
Soshenko took Shevchenko to Saint Petersburg's art galleries, including the Hermitage Museum. He introduced him to other compatriots, such as the writer and poet Yevhen Hrebinka, the art historian , and the Russian painter Alexey Venetsianov. Through these men, around June 1832, Shevchenko was introduced to the most fashionable painter of the day, the artist Karl Briullov. Briullov took an interest in Shevchenko, praising his work and indicating a willingness to take him on as a student. However, as a serf, Shevchenko was ineligible to study under Briullov at the Academy, who requested his freedom from Engelhardt. The request was met with a refusal, which enraged Briullov.
Engelhardt was persuaded to release his servant on condition that a fee of 2500 was paid. To raise this sum, Briullov painted a portrait of the Russian poet Vasily Zhukovsky as a lottery prize for the imperial family; the winning lottery ticket was drawn by the tsarina. Engelhardt signed the paperwork that released Shevchenko from serfdom on .
From June to November 1838, Shevchenko's examination marks improved enough to allow him to join a compositional drawings class. An early drawing from this class, , was completed in December that year. The following month his work was recognised by the Imperial Society for the Encouragement of the Arts, who agreed to pay him a monthly maintenance fee of 30 rubles a month.
In April 1839, Shevchenko was awarded a silver medal by the Council of the Academy. He began to master the technique of oil painting, with being among his earliest attempts. From November, he became seriously ill with typhus. That year, he received another silver medal, this time for his oil painting The Beggar Boy Giving Bread to a Dog. In September 1841, the Academy of Arts awarded Shevchenko his third silver medal, for the painting . The following May, continual absenteeism from classes forced the Society for the Encouragement of Artists to exclude him from among its free boarders. To earn an income he produced book illustrations, such as for Nikolai Nadezhdin's story The Power of Will, 's publication Ours, written off from nature by the Russians, an edition of Wolfgang Franz von Kobell's Galvanography (1843), and a book by Nikolai Polevoy, Russian Generals (1845).
In March 1840, Hrebinka submitted the manuscript of the almanac Lastivka to the censors, which also included Shevchenko's "Prychynna" and the poems "" and "". In 1841, Shevchenko paid for his Epic poetry Haidamaky. The poem was met with sharp criticism by the literary critic Vissarion Belinsky; in the magazine Otechestvennye Zapiski he criticized Shevchenko's "inclination to romantic pompous ingenuity". Other poems produced by Shevchenko during this period include "", "", and "".
While residing in Saint Petersburg, Shevchenko made three trips to Ukraine: in 1843, 1845, and 1846. The difficult conditions Ukrainians endured had a profound impact on the poet-painter. Shevchenko visited his siblings, still enserfed, and other relatives. He met with prominent Ukrainian writers and intellectuals Yevhen Hrebinka, Panteleimon Kulish, and Mykhaylo Maksymovych, and was befriended by the princely Repnin family, especially Varvara.
In 1844, distressed by the condition of Ukrainian regions in the Russian Empire, Shevchenko decided to capture some of his homeland's historical ruins and cultural monuments in an album of etchings, which he called Picturesque Ukraine. Only the first six etchings were printed because of the lack of means to continue. An album of watercolors from historical places and pencil drawings was compiled in 1845.
In the autumn of 1842, Shevchenko planned a sea trip to Sweden and Denmark, but due to illness, he returned home after reaching Revel (modern Tallinn).
Shevchenko planned to publish an album, Picturesque Ukraine, to consist of his annotated etchings of places and events connected with Ukraine and its past, and use the proceeds to buy his family their freedom. The Society for the Encouragement of Artists gave him 300 rubles to help produce Picturesque Ukraine, but due to his poor planning and lack of business skills, few of the intended etchings with their accompanying text were published, and not enough money was generated from sales to fulfill his dream of buying his siblings' freedom.
In 1844, Shevchenko wrote the poem Dream that described the social and national oppression of Ukrainians by the Russian upper classes. In February, he arrived back in Saint Petersburg from Ukraine. Copies of the poem were confiscated from the society's members and became one of the major issues of the scandal.
Shevchenko was arrested together with the members of the society on 5 April 1847. Tsar Nicholas I read Shevchenko's poem, "Dream". Vissarion Belinsky wrote in his memoirs that Nicholas I, knowing Ukrainian very well, laughed and chuckled whilst reading the section about himself, but his mood quickly turned to bitter hatred when he read about his wife. Shevchenko had mocked her frumpy appearance and facial tics, which she had developed fearing the Decembrist uprising and its plans to kill her family. After reading this section the Tsar indignantly stated "I suppose he had reasons not to be on terms with me, but what has she done to deserve this?"
In the official report of Orlov Shevchenko was accused of composing poetry in "Little-Russian language" (an archaic Russian name for the Ukrainian language) of outrageous content, instead of being grateful to be redeemed out of serfdom. In the report, Orlov listed the crimes as advocating and inspiring Ukrainian nationalists, alleging enslavement and misfortune of Ukraine, glorifying the Hetman Administration (Cossack Hetmanate) and Cossack liberties and that he "with incredible audacity poured slander and bile on persons of Imperial House".
While under investigation, Shevchenko was imprisoned in Saint Petersburg in casemates of the 3rd Department of Imperial Chancellery on Panteleimonovskaya Street (today Pestelia str., 9). After being convicted, he was exiled as a private to the Russian military garrison in Orenburg at Orsk, near the Ural Mountains. Tsar Nicholas I personally confirmed his sentence, and added to it, "Under the strictest surveillance, without the right to write or paint." He was subsequently sent on a forced march from Saint Petersburg to Orenburg and Orsk. The following year, 1848, he was assigned to undertake the first Russian naval expedition of the Aral Sea on the ship "Konstantin", under the command of Lieutenant Butakov. Although officially a common private, Shevchenko was effectively treated as an equal by the other members of the expedition. He was tasked to sketch various landscapes around the coast of the Aral Sea. After an 18-month voyage (1848–49), Shevchenko returned with his album of drawings and paintings to Orenburg. Most of those drawings were created for a detailed account of the expedition. Nevertheless, he created many unique works of art about the Aral Sea nature and Kazakhstan people at a time when Russian conquest of Central Asia had begun in the middle of the nineteenth century.
He was then sent to one of the worst penal settlements, the remote fortress of Fort Shevchenko at Mangyshlak Peninsula, where he spent seven terrible years. In 1851, at the suggestion of fellow serviceman Bronisław Zaleski, lieutenant colonel Mayevsky assigned him to the Mangyshlak (Karatau) geological expedition. In 1857, Shevchenko finally returned from exile after receiving amnesty from a new emperor, though he was not permitted to return to St. Petersburg and was forced to stay in Nizhniy Novgorod.
Shevchenko was eventually allowed to return to St. Petersburg. In the winter of 1858, he saw African-American Shakespearean actor Ira Aldridge perform with his troupe. Using translators, the two became good friends over discussions of art and music and their shared experiences of oppression. Shevchenko drew Aldridge's portrait. Aldridge was later gifted a portrait of Shevchenko by Mikhail Mikeshin.
In May 1859, Shevchenko got permission to return to Ukraine. He intended to buy a plot of land close to the village of Pekari. In July, he was again arrested on a charge of blasphemy, but then released and ordered to return to St. Petersburg.
He was first buried at the Smolensk Cemetery in Saint Petersburg. His funeral in Saint Petersburg was attended by such greats of Russian literature as Dostoevsky, Turgenev, Saltykov-Shchedrin and Nikolai Leskov. However, fulfilling Shevchenko's wish, expressed in his poem "Testament" ( "Zapovit"), to be buried in Ukraine, his friends arranged the transfer of his remains by train to Moscow and then by horse-drawn wagon to his homeland. Shevchenko was re-buried on 8 May on the Chernecha hora (Monk's Hill; today Taras Hill) near the Dnipro River in Kaniv. A tall mound was erected over his grave, now a memorial part of the Kaniv Museum-Preserve.
Dogged by terrible misfortune in love and life, the poet died seven days before the 1861 emancipation of serfs was announced. His works and life are revered by Ukrainians throughout the world and his impact on Ukrainian literature is immense.
Як умру, то поховайте
Мене на могилі,
Серед степу широкого,
На Вкраїні милій,
Щоб лани широкополі,
І Дніпро, і кручі
Було видно, було чути,
Як реве ревучий.
Як понесе з України
У синєє море
Кров ворожу... отоді я
І лани, і гори —
Все покину і полину
До самого Бога
Молитися... а до того
Я не знаю Бога.
Поховайте та вставайте,
Кайдани порвіте
І вражою злою кров'ю
Волю окропіте.
І мене в сiм'ї великій,
В сiм'ї вольній, новій,
Не забудьте пом'янути
Незлим тихим словом.
When I die, then make my grave
High on an ancient mound,
In my own beloved Ukraine,
In steppeland without bound:
Whence one may see wide-skirted wheatland,
Dnipro's steep-cliffed shore,
There whence one may hear the blustering
River wildly roar.
Till from Ukraine to the blue sea
It bears in a fierce endeavour
The blood of foemen — then I'll leave
Wheatland and hills forever:
Leave all behind, soar up until
Before the throne of God
I'll make my prayer. For till that hour
I shall know naught of God.
Make my grave there — and arise,
Sundering your chains,
Bless your freedom with the blood
Of foemen's evil veins!
Then in that great family,
A family new and free,
Do not forget, with good intent
Speak quietly of me.
When I am dead, bury me
In my beloved Ukraine,
My tomb upon a grave mound high
Amid the spreading plain,
So that the fields, the boundless steppes,
The Dnieper's plunging shore
My eyes could see, my ears could hear
The mighty river roar.
When from Ukraine the Dnieper bears
Into the deep blue sea
The blood of foes ... then will I leave
These hills and fertile fields—
I'll leave them all and fly away
To the abode of God,
And then I'll pray .... But until that day
I know nothing of God.
Oh bury me, then rise ye up
And break your heavy chains
And water with the tyrants' blood
The freedom you have gained.
And in the great new family,
The family of the free,
With softly spoken, kindly word
Remember also me.
While he tirelessly exposed the oppression of the Russian landowners and the Tsar, Shevchenko also shared pan-Slavism views and maintained contacts with Russian intelligentsia. His attitude can be demonstrated by his views of 17th-century Ukrainian Cossack leader Bohdan Khmelnitsky, whom he praised as the "glorious of the glorious", but simultaneously criticized for paving the way for the liquidation of Ukrainian autonomy by Moscow. Shevchenko advocated for the unification of the Slavic peoples on a democracy basis.
A serf peasant, ransomed from captivity, Shevchenko was in the words of Russian critic Nikolai Dobrolyubov, "a poet of the people ... He came out of the people, lived with the people, and not only by thought, but by the circumstances of life, was closely and bloodily connected with the people."
Shevchenko was one of the most active participants in a secret political organization in Ukraine, the Brotherhood of Saints Cyril and Methodius and headed the revolutionary nucleus in it. He was associated with a group of Petrashevists (the Petrashevsky Circle was a Russian literary discussion group of progressive-minded intellectuals in St. Petersburg in the 1840s, which also included a young Fyodor Dostoyevsky and radical utopian socialists) who, in their plans for a peasant uprising, hoped to use his revolutionary activities in Ukraine. After his exile, Shevchenko became close to the members of the Sovremennik literary, social and political magazine and its editors, Nikolai Chernyshevsky and Nikolai Dobrolyubov.
Shevchenko did not consider the existing social system to be unshakable, he was convinced that the serf system would be destroyed everywhere due to the development of the steam engine, a technique that would "devour the landlord-inquisitors", and that the most important role in a radical change in social life would be played by the masses. Although he argued that the strength of the spirit cannot manifest itself without matter, he did not call his philosophical position "materialism", understanding by this word the vulgar materialism of contemporary thinkers such as Büchner, Jacob Moleschott and Carl Vogt, which he rejected. In his poem The Heretic, Shevchenko praised the struggle of Jan Hus (an early 15th-century Bohemia religious reformer) for the interests of ordinary people and the unity of the Slavs.
According to Shevchenko's aesthetic views, which the poet expressed in his Diary, the source of beauty is nature; any attempts to deviate from the eternal beauty of nature make the artist "a moral monster". Shevchenko strove for art that is both national (folkloric) and realistic, and for that he earned the praise of Chernyshevsky and the Russian Peredvizhniki painter Ivan Kramskoi, who drew the poet's famous portrait after his death.
In the 1840s and then in the 1850s, in the era of the political struggle within the Empire's intelligentsia between the revolutionary-minded radical wing and the more moderate liberal wing, Shevchenko stood on the side of the Russian revolutionary democrats. His battle poetry, which spread underground, was a sharp weapon in the fight against serfdom. Shevchenko had a great influence on the further development of revolutionary social thought in Ukraine and on Ukrainian culture in general (Ivan Franko, Mykhailo Kotsiubynsky, Lesya Ukrainka, etc.).
Monuments to Shevchenko have been put up in other countries. These include the granite Taras Shevchenko Memorial in Washington, D.C., a monument in Rome, Italy (next to the Basilica of St. Sophia), a monument in Soyuzivka, New York, statues in the Brazilian cities of Curitiba and Prudentópolis, in the Dječiji Park, Podgorica, Montenegro, and in the Croatian capital Zagreb. A bust of Shevchenko was unveiled at Shevchenko School in Vita, Manitoba, Canada in 1987 and another on 24 September 2010 in the Østre Anlæg Park in Copenhagen.
From 1966 to 1968 artist Hanna Veres made a series of ornamental textiles that she dedicated to Shevchenko. They were used to illustrate the 1971 edition of Kobzar.
The Tarasa Shevchenka a station on Kyiv Metro is named after Shevchenko.
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