THE FIGURE OF SCHWEIK AND THE ‘SCHWEIK-ING’ PHENOMENON IN UKRAININ CULTURAL SPACE

Abstract

The article analyzes the figure of the main character of Czech author Jaroslav Hašek from his novel “The Good Soldier Švejk”. This work by Jaroslav Hašek stands in stark contrast with most of the literature of the period of the First World War in Europe. Instead of the hamlet-esque existential introspection common to the literature of the so-called ‘lost generation’ (usually espoused by young heroes reflecting on a world scarred and destabilized by war), Hašek’s character laughs at the war instead. The article puts forth that Schweik is not so much a fully cohesive human character as he is a satirical mask of the ‘brave soldier’ that helps a person survive in a world gone mad with violence, conflict, and death. The soldier Schweik, categorized as a ‘clinical idiot’ by the novel’s medical commission, plays the role of a dim-witted and short-sighted man ready to fulfill any order from a superior officer. Schweik’s behavior can be seen as a unique way of resisting a cruel world locked in a state of war. A subconscious resistance rooted in denial, mental self-protection, and absurdist humor as a shield against the worst sides of human nature. This type of behavior has sometimes been called “Schweik-ing” and attributed (rightfully or wrongly) to characters not exhibiting a strong will or a high level of intellect. However, “Schweik-ing” can also be seen as a type of hidden psychological and moral resistance in which a law-abiding person, unable to fully change the insurmountable circumstances, still critically perceives ongoing events, disagrees with them yet goes along while exhibiting a kind of low-level sabotage. Hašek’s novel has been a beloved work in Europe for decades and has received the attention of both the reading public and literary professionals. Schweik’s jokes and hijinks were pop-cultural staples in many European countries. “Schweik-ing” itself as a type of behavior (or philosophical statement) received differing reactions. Ukrainian diaspora writer Ivan Bahriany viewed it with humorous appreciation and showed it in his comedy “The General”(1946), where the young character Sashko Prykhoda is a big fan of Schweik. On the other end of the spectrum lies the examples of Bahriany’s contemporary – publicist, political activist and one of the thought-leaders of the Ukrainian national movement Dmytro Dontsov. His view of “Schweik-ing” and Schweik himself is negative, an embodiment of passivity, opportunism, and self-interest. Dontsov perceived the Schweik archetype as that of a person submissive to those in power and a potential collaborationist of evil in politics and society. In Dontsov’s work, this archetype is opposed by rebels, freedom-fighters, and idealists. In light of the above, the article tracks the use of the Schweik figure in literary works relating to the sphere of publicism related to political struggles and ideological disagreements within the European socio-cultural context. Therefore, it is not unexpected to find that in publicism, the symbolic literary figure loses its depth, becomes simplified and two-dimensional as a tool to prove a specific ideological theory or statement. It may be surprising how often Schweik comes up in the Ukrainian cultural space. The character resurfaces with different interpretations, translated into Ukrainian, portrayed in various theatrical plays, and even represented via monuments in small towns and villages. The obvious conclusion that comes to mind is that Jaroslav Hašek created Schweik to be the “everyman”, a universal figure that sparks interest in different times and for different nations. Schweik is the result of a conscious cultural effort, backed by the author’s life experience, unparalleled sense of humor, and literary talent. As a result, a “Ukrainian Schweik” is a valid term and topic of discussion, following the famed quote of the quick-witted bloger: “Our Schweik is the Schweikest among them all”.