1937 Palestine RUSSIAN Book PUSHKIN Art HEBREW 1st Edition ISRAEL Jewish JUDAICA

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1937 Palestine RUSSIAN Book PUSHKIN Art HEBREW 1st Edition ISRAEL Jewish JUDAICA:
$115.00

DESCRIPTION : Here for sale is the most beautiful FIRST Hebrew ILLUSTRATED edition ofALEXANDER PUSHKINlegendary novel \"Eugene Onegin\" (Евге́ний Оне́гин ) which was published in 1937 in ERETZ ISRAEL (Then also refered to as PALESTINE ) with the Hebrew translation of one ofIsrael legendary national poets AVRAHAM SHLONSKY . It was published in aGIANT LUXURIOUS edition , Cloth ( Canvas ) binding , Size 10\" x 13.5\"in a quite limited edition. The illutrations by the RussianillustratorNikolai Vasilyevich Kuzmin. A beautifuly designed vintage (1937 ) edition of this RUSSIAN DRAMA of PUSHKIN.Original cloth (Canvas)HC. Embossed Hebrew headings. 144 pp . Size 10\" x13.5\" . Several few full page illustrations on chromo. Very good condition .Tightly bound . Foxing on a few pages. Very well preserved ex library copy . A few erasing marks where library stamps were erased. ( Pls look at scan for accurate AS IS images ). Will besent inside a protective rigid envelope .

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SHIPPMENT : Shipp worldwide via registeredairmail is $18 ( Huge volume ) . Handling within 1-3 days after receipt of payment. Duration around 14 days. Book will be sent in a special protective rigid sealed package.

EugeneOnegin(Russian: Евге́ний Оне́гин, BGN/PCGN: Yevgeniy Onegin)is a novel in verse written by Alexander Pushkin. It is a classic of Russian literature, and its eponymous protagonist has served as the modelfor a number of Russian literary heroes (so-called superfluous men). It was publishedin serial form between 1825 and 1832. The first complete edition was publishedin 1833, and the currently accepted version is based on the 1837 publication.Almost the entire work is made up of 389 stanzas of iambic tetrameter with the unusualrhyme scheme \"AbAbCCddEffEgg\", where the uppercase letters represent feminine rhymes while the lowercaseletters represent masculine rhymes. This form has cometo be known as the \"Onegin stanza\" or the \"Pushkinsonnet.\" The rhythm, innovative rhyme scheme, the natural tone anddiction, and the economical transparency of presentation all demonstrate thevirtuosity which has been instrumental in proclaiming Pushkin as the undisputedmaster of Russian poetry. The story is toldby a narrator (a lightly fictionalized version of Pushkin\'s public image),whose tone is educated, worldly, and intimate. The narrator digresses at times,usually to expand on aspects of this social and intellectual world. This allowsfor a development of the characters and emphasises the drama of the plotdespite its relative simplicity. The book is admired for the artfulness of itsverse narrative as well as for its exploration of life, death, love, ennui,convention, and passionCharacters Eugene OneginA dandy from Saint Petersburg, about 26. An arrogant, selfish and world-wearycynic. Vladimir Lensky A young poet, about 18. A very romantic, passionate andnaive dreamer. Tatyana Larina A shy and quiet, but passionate landowner\'sdaughter. Olga Larina A beautiful, but vapid coquette. The Author Plot 1820s. Eugene Onegin is a bored Petersburg dandy,whose life consists of balls, concerts, parties, and nothing more. One day heinherits a landed estate from his uncle. When he moves to the country, hestrikes up a friendship with his neighbour, an inexperienced young poet namedVladimir Lensky. One day, Lensky takes Onegin to dine with the family of hisfiancée, the extroverted and rather thoughtless Olga Larina. At this meeting,Olga\'s serious, book-loving sister, Tatyana, falls in love with Onegin. Soonafter, Tatyana bares her soul to Onegin in a letter professing her love.Contrary to her expectations, Onegin does not reply by letter. The two meet onhis next visit where he rejects her advances in a speech, often referred to as Onegin\'sSermon, that has been described as diplomatic, but cold and condescending.Later, Lensky mischievously invites Onegin to Tatyana\'s name day celebration promising a small gathering withjust Tatyana, her sister, and her parents. When Onegin arrives, he findsinstead a boisterous country ball, a rural parody of and contrast to thesociety balls of St. Petersburg he has grown tired of. Onegin is irritated withthe guests who gossip about him and Tatyana, and with Lensky for persuading himto come. He decides to revenge himself by dancing and flirting with Olga. Olgais insensitive to her fiancé and apparently attracted to Onegin. Due to hisexaggerated earnestness and inexperience, Lensky is wounded to the core andissues a challenge to Onegin to fight a duel, a challenge Onegin reluctantlyaccepts, driven by conventional expectations. At the duel, Onegin unwillinglykills Lensky, expressing his sorrow afterwards. Onegin then quits his countryestate, choosing travel as a means of deadening his feelings of remorse.Tatyana visits Onegin\'s mansion where she reads through his books and his notesin the margins, and through this comes to question if Onegin\'s character ismerely a collage of different literary heroes, and if there is, in fact, no\"real Onegin.\" Several years have passed, and the scene changes to Moscow,to which Onegin has come to attend the most prominent balls and interact withthe leaders of old Russian society. He sees the most beautiful woman, who nowcaptures the attention of all and is central to society\'s whirl, and herealizes that it is the very same Tatyana whose love he had once turned away.Now she is married to an aged general. Upon seeing this \"new\"Tatyana, he tries to win her affection, despite the fact that she is married.But his advances are repulsed. He writes her several letters but receives noreply. The novel ends when Onegin manages to see Tatyana and presents to herthe opportunity to renew their past love. Tatyana rejects him in a speech,mirroring his earlier sermon, where she admits both her love for him andthe absolute loyalty that she nevertheless has for her husband. Major themes One of the main themes of EugeneOnegin is the relationship between fiction and real life. People are oftenshaped by art and the work is suitably packed with allusions to other majorliterary works. Another major element is Pushkin\'s creation of a woman ofintelligence and depth in Tatyana, whose vulnerable sincerity and openness onthe subject of love has made her the heroine of countless Russian women,despite her apparent naivety. Pushkin, in the final chapter, fuses his Muse andTatyana\'s new \'form\' in society after a lengthy description of how she hasguided him in his works. Perhaps the darkest theme - despite the light touch ofthe narration - is his presentation of the deadly inhumanity of socialconvention. Onegin is its bearer in this work. His induction into selfishness,vanity, and indifference occupies the introduction, and he is unable to escapeit when he moves to the country. His inability to relate to the feelings ofothers and his frozen lack of empathy - the cruelty instilled in him by the\"world\" - is epitomized in the very first stanza of the first book byhis stunningly self-centred thoughts about being with the dying uncle whose estatehe is to inherit. \"But God how deadly dull to sample sickroom attendancenight and day ... and sighing ask oneself all through \"When will the devilcome for you?\"[1]However,the \"devil comes for Onegin\" when he literally kills the innocent andthe sincere, shooting Lensky in the duel, and metaphorically kills innocenceand sincerity when he rejects Tatyana. She learns her lesson, and armouredagainst feelings and steeped in convention she crushes his later sincerity andremorse. (This epic reversal of roles, and the work\'s broad socialperspectives, provide ample justification for its subtitle \"a novel inverse\".) Tatyana\'s nightmare illustrates the concealed aggression of the \"world\".She is chased over a frozen winter landscape by a terrifying bear (representingthe ferocity of Onegin\'s inhuman persona) and confronted by demons and goblinsin a hut she hopes will provide shelter. This is contrasted to the openvitality of the \"real\" people at the country ball, giving dramaticemphasis to the war of warm human feelings with the chilling artificiality ofsociety. So, Onegin has lost his love, killed his only friend, and found nosatisfaction in his life. He is a victim of his own pride and selfishness. Heis doomed to loneliness, and this is his tragedy. The conflict between artand life was no mere fiction in Russia. It is illustrated by Pushkin\'s ownfate, having been killed in a duel. He was driven to death, falling victim tothe social conventions of Russian high society. Compositionand publication As with many other 19th century novels,Onegin was written and published serially, with parts of eachchapter often appearing published in magazines before the first printing ofeach chapter. Many changes, some small and some large, were made from the firstappearance to the final edition during Pushkin\'s lifetime. The following datesmostly come from Nabokov\'s study of the photographs of Pushkin\'s drafts thatwere available at the time, as well as other people\'s work on the subject. Thefirst stanza of Chapter One was started on May 9, 1823, and except for threestanzas (XXXIII, XVIII and XIX), the chapter was finished on October 22. Theremaining stanzas were completed and added to his notebook by the first week ofOctober 1824. Chapter One was first published as a whole in a booklet on February16, 1825, with a foreword that suggests Pushkin had no clear plan on how (oreven whether) he would continue the novel. Chapter Two was started on October22, 1823, (the date when most of Chapter One had been finished) and finished byDecember 8, except for stanzas XL and XXXV, which were added sometime over thenext three months. The first separate edition of Chapter Two appeared onOctober 20, 1826. Many events occurred which interrupted the writing of ChapterThree. In January 1824, Pushkin stopped work on Onegin to work on The Gypsies. Exceptfor XXV, Stanzas I-XXXI were added on September 25, 1824. Nabokov guesses thatTanya\'s Letter was written in Odessabetween February 8 and May 31, 1824. Pushkin\'s incurred the displeasure of theTsarist regime in Odessa and was restricted to his family estate Miskhaylovskoein Pskovfor two years. He left Odessa on July 21, 1824 and arrived on August 9. Writingresumed on September 5, and Chapter 3 was finished (apart from stanza XXXVI) onOctober 2. The first separate publication of Chapter Three was on October 10,1827. Chapter 4 was started in October 1824, by the end of the year Pushkin hadwritten 23 stanzas and had reached XXVII by January 5, 1825, at which point hestarted writing stanzas for Onegin\'s Journey and worked on other pieces ofwriting. He thought it was finished on September 12, 1825, but later continuedthe process of rearranging, adding and omitting stanzas were till the firstweek of 1826. The first separate edition on of Chapter 4 appeared with Chapter5 in a publication produced between January 31 and February 2, 1828. Thewriting of Chapter 5 began on January 4, 1826, and 24 stanzas were completebefore the start of his trip to petition the Tsar for his freedom. He left onSeptember 4 and returned on November 2, 1826. He completed the rest of thechapter in the week November 15 to 22, 1826. The first separate edition ofChapter 5 appeared with Chapter 4 in a publication produced between January 31and February 2, 1828. When Nabokov made his study on the writing of Onegin themanuscript of Chapter 6 was lost, but we know that Pushkin started Chapter 6before he had finished Chapter 5. Most of the chapter appears to have beenwritten before the beginning of December 19, 1826 when he returned from exilein his family estate to Moscow. Many stanzas appeared to have been writtenbetween November 22 and 25, 1826. On March 23, 1828, the first separate editionof Chapter 6 was published. Pushkin started writing Chapter 7 in March 1827 butaborted his original plan for the plot of the chapter and started on adifferent tack, completing the chapter on November 4, 1828. The first separateedition of Chapter 7 was first printed on March 18, 1836. Pushkin intended towrite a chapter called \'Onegin\'s Journey\' which occurred between the events ofChapter 7 and 8, and in fact was supposed to be the eighth Chapter. Fragmentsof this incomplete chapter were published, in the same way that parts of eachchapter had been published in magazines before each chapter was first publishedin its first separate edition. When Pushkin first completed Chapter 8 hepublished it as the final Chapter and included within its denouement the line ninecantos I have written still intending to complete this missing chapter.When Pushkin finally decided to abandon this chapter he removed parts of theending to fit with the change. Chapter 8 was begun before December 24, 1829,while Pushkin was in Petersburg. In August 1830, he went to Boldino (the Pushkin familyestate)[2][3]where, due to an epidemic of cholera, he was forced to stay for three months.During this time, he produced what Nabokov describes as an \"incrediblenumber of masterpieces\" and finished copying out Chapter 8 on September25, 1830. During the summer of 1831, Pushkin revised and completed Chapter 8apart from \'Onegin\'s Letter\' which was completed on October 5, 1831. The firstseparate edition of Chapter 8 appeared on January 10, 1832. Pushkin wrote atleast eighteen stanzas of a never-completed tenth chapter. It contained manysatire and even direct criticism on contemporary Russian rulers, including the Emperor himself. Afraid of beingprosecuted for dissidence, Pushkin burnt most of the 10th Chapter. Very littleof it survived in Pushkin\'s notebooks.[4]Thefirst complete edition of the book was published in 1833. Slight correctionswere made by Pushkin for the 1837 edition. The standard accepted text is basedon the 1837 edition with a few changes due to the Tsar\'s censorship restored. The duel In Pushkin\'s time, the early 19th century, duelswere very strictly regulated. A second\'s primary duty was to prevent the duelfrom actually happening, and only when both combatants were unwilling to standdown were they to make sure that the duel proceeded according to formalisedrules.[5]A challenger\'s second should therefore always ask the challenged party if hewants to apologise for his actions that have led to the challenge. In EugeneOnegin, Lensky\'s second, Zaretsky, does not ask Onegin even once if hewould like to apologise, and because Onegin is not allowed to apologise on hisown initiative, the duel takes place, with fatal consequences. Zaretsky isdescribed as classical and pedantic in duels (Chapter 6, Stanza XXVI),and this seems very out of character for a nobleman. Zaretsky\'s first chance toend the duel is when he delivers Lensky\'s written challenge to Onegin (Chapter6, Stanza IX). Instead of asking Onegin if he would like to apologise, heapologises for having much to do at home and leaves as soon as Onegin(obligatorily) accepts the challenge. On the day of the duel, Zaretsky getsseveral more chances to prevent the duel from happening. Because dueling wasforofferden in the Russian Empire, duels were alwaysheld at dawn. Zaretsky urges Lensky to get ready shortly after 6 o\'clock in themorning (Chapter 6, Stanza XXIII), while the sun only rises at 20 past 8,because he expects Onegin to be on time. However, Onegin oversleeps (chapter 6,Stanza XXIV), and arrives on the scene more than an hour late.[5]According to the dueling codex, if a duelist arrives more than 15 minutes late,he automatically forfeits the duel.[6]Lensky and Zaretsky have been waiting all that time (chapter 6, Stanza XXVI),even though it was Zaretsky\'s duty to proclaim Lensky as winner and take himhome. When Onegin finally arrives, Zaretsky is supposed to ask him a final timeif he would like to apologise. Instead, Zaretsky is surprised by the apparentabsence of Onegin\'s second. Onegin, against all rules, appoints his servantGuillot as his second which was the last action to take from a noble man.(Chapter 6, Stanza XXVII), a blatant insult for the nobleman Zaretsky.[5]Zaretsky angrily accepts Guillot as Onegin\'s second. By his actions, Zaretskydoes not act as a nobleman should, in the end Onegin wins the Duel.[5]Allusions to actual history, geography, and currentscience In the book, Pushkin claims that Eugene Onegin is his friend.Indeed, Onegin\'s story resembles the life of Pushkin\'s friend, Pyotr Chaadaev,to whom Pushkin devoted several poems, and whose name is mentioned in the firstchapter of the original Russian version, where it says \"my Eugene is likea second Chaadaev.\" Chaadaev is also the prototype for other Russianliterary works. Tatyana\'s prototype is Dunia Norova, Chaadaev\'s friend, who ismentioned in the second chapter of the original Russian version. Translations Translators of Eugene Onegin haveall had to adopt a trade-off between precision and preservation of poeticimperatives. This particular challenge and the importance of Eugene Oneginin Russian literature have resulted in an impressive number of competingtranslations. Into English Arndt and Nabokov Walter W. Arndt\'s 1963 translation (ISBN 0-87501-106-3) was written keepingto the strict rhyme scheme of the Onegin stanza and won the Bollingen Prize for translation. It is stillconsidered one of the best translations.[citation needed] Vladimir Nabokov severely criticisedArndt\'s translation, as he had criticised many previous (and later)translations. Nabokov\'s main criticism of Arndt\'s and other translations isthat they sacrificed literalness and exactness for the sake of preserving themelody and rhyme. Accordingly, in 1964 he published in four volumes his owntranslation, which conformed scrupulously to the sense while completelyeschewing melody and rhyme. The first volume contains an introduction byNabokov and the text of the translation. The Introduction discusses thestructure of the novel, the Onegin stanza in which it is written and Pushkin\'sopinion of Onegin (using Pushkin\'s letters to his friends); and gives adetailed account of both the time over which Pushkin wrote Onegin and thevarious forms any part of it appeared in publication before Pushkin\'s death (afterwhich there is a huge proliferation of the number of different editions). Thesecond and third volume consists of very detailed and rigorous notes to thetext. The fourth volume contains a facsimile of the 1837 edition. Thediscussion of the Onegin stanza contains the poem On Translating\"Eugene Onegin\", which first appeared in print in TheNew Yorker on January 8, 1955, and is written in two Onegin stanzas.[7]The poem is reproduced there both so that the reader of his translation wouldhave some experience of this unique form, and also to act as a further defenceof his decision to write his translation in prose. Nabokov\'s previously closefriend Edmund Wilson reviewed Nabokov\'s translation in theNew York Review of Books, which sparked an exchange of letters there andan enduring falling-out between them.[8]Whilemany despair at the loss of what is at first most appealing in Pushkin\'s novel,Nabokov\'s translation is essential reading for anyone who wishes to studyOnegin at a high level without learning Russian. Also, a number of latertranslations which do attempt to preserve melody and rhyme have been helped byNabokov\'s literal translation. John Bayley has describedNabokov\'s commentary as \'\"by far the most erudite as well as the mostfascinating commentary in English on Pushkin\'s poem\" and the commentary asbeing \"as scrupulously accurate, in terms of grammar, sense and phrasing,as it is idiosyncratic and Nabokovian in its vocabulary\". Some considerthis \"Nabokovian vocabulary\" a failing, for it might require eveneducated speakers of English to reach for the dictionary on occasion[citation needed] — but mostagree that the translation is extremely accurate OtherEnglish translations Babette Deutsch published a translation in 1935preserving the Onegin stanzas. In 1977, CharlesJohnstonpublished another translation [1]trying to preserve the Onegin stanza, which is generally considered to surpassArndt\'s. Johnston\'s translation is influenced by Nabokov. Vikram Seth\'s novel The Golden Gate wasinspired by this translation. James E. Falen (the professor ofRussian at the University ofTennessee)published a translation in 1995 which was also influenced by Nabokov\'stranslation, but preserved the Onegin stanzas (ISBN 0809316307). This translationis considered to be the most faithful one to Pushkin\'s spirit according toRussian critics and translators. Douglas Hofstadter published atranslation in 1999, again preserving the Onegin stanzas, after havingsummarised the controversy (and severely criticised Nabokov\'s attitude towardsverse translation) in his book Le Ton beau de Marot. Hofstadter\'s translationhas a unique lexicon of both high and low register words, as well as unexpectedand almost reaching rhymes that give the work a comedic flair. Tom Beckpublished a translation in 2004, preserving the Onegin stanzas (ISBN 1-903517-28-1). In April 2008, Henry M. Hoyt published, through Dog EarPublishing, a translation which preserves the meter of the Onegin stanza, butis unrhymed, his stated intention being to avoid the verbal changes forced bythe invention of new rhymes in the target language while preserving the rhythmof the source. (ISBN 978-159858-340-3). In September 2008,Stanley Mitchell, emeritus professorof aesthetics at the University of Derby, published, through Penguin Books, a complete translation, againpreserving the Onegin stanzas in English. (ISBN 978-0-140-44810-8 ) There are a numberof lesser known English translations [2]. Into otherlanguages French There are at least eight published French translationsof Eugene Onegin. The most recent appeared in 2005: the translator,André Markovicz, respects Pushkin\'s original stanzas.[9]Other translations include those of Paul Béesau (1868), Gaston Pérot (1902, inverse), Nata Minor (received the Prix Nelly Sachs, given to the besttranslation into French of poetry), Roger Legras, Maurice Colin, Michel Bayatand Jean-Louis Backès (does not preserve the stanzas).[10][11][12][13][14][15][16]As a twenty-year-old, former French president Jacques Chirac also wrote atranslation which was never published.[17][18]German There are at least eleven publishedtranslations of Onegin in German. R. Lippert, Leipzig 1840 Adolf Seubert,Leipzig um 1906 Theodor Commichau, Berlin 1916 Friedrich Bodenstedt, Wien 1946Elfriede Eckardt-Skalberg, Baden-Baden 1947 Johannes von Guenther, Leipzig 1949Manfred von der Ropp und Felix Zielinski, München 1972 Kay Borowsky, Stuttgart1972 (Prosaübersetzung) Theodor Commichau und M. Remané, Bearb. K. Schmidt, Ffm1973 Rolf-Dietrich Keil, Gießen 1980 Ulrich Busch, Zürich 1981 Italian There are several Italian translation of Onegin.One of the earliest was published by G. Cassone in 1906. Ettore Lo Gattotranslated the novel twice, in 1922 in prose and in 1950 in hendecasyllables.[19]More recent translations are those by Giovanni Giudici (a first version in1975, a second one in 1990, in lines of unequal length) and by Pia Pera (1996).[20Hebrew Avraham Shlonsky, 1937 AvrahamLevinson, 1937 Esperanto Trans. NikolaoNekrasov, published by Sennacieca Asocio Tutmonda, 1931 Film, TV or theatrical adaptations Opera Main article:Eugene Onegin(opera)The1879 opera Eugene Onegin, by Tchaikovsky, based on the book,is part of the standard operatic repertoire; there are various recordings ofit, and it is regularly performed. Balle John Cranko choreographed a three-act balletusing Tchaikovsky\'s music in an arrangementby Kurt-Heinz Stolze. However, Stolze didnot use any music from Tchaikovsky’s opera of the samename.Instead, he orchestrated some little-known piano works by Tchaikovsky such as The Seasons, along with themes fromthe opera Cherevichki[21]and the latter part of the symphonic fantasia Francesca da Rimini.[22].Choreographer Boris Eifman staged modern rendition of EugeneOnegin as a ballet taking place in modern Moscow. Performed by Eifman Ballet ofSt. Petersburg, music by Alexander Sitkovetsky, with excerpts from Tchaikovskyopera \"Eugene Onegin\".[23][24]Incidental music A staged version was producedin the Soviet Union in 1936 with staging by Alexander Tairov and incidental music by Sergei Prokofiev. Play Christopher Webber\'s play Tatyanawas written for NottinghamPlayhousein 1989. It successfully combines spoken dialogue and narration from the book,with music arranged from Tchaikovsky\'s operatic score,and incorporates some striking theatrical sequences inspired by Tatyana\'sdreams in the original. The title role was played by Josie Lawrence, and the directorwas Pip Broughton. Film In 1911 was filmed thefirst screen version of the novel.It was Russian silent film \"YevgeniOnegin\" (\"Eugene Onegin\"), directed by Vasili Goncharov andstarring Arseniy Bibikov, Petr Birjukov and Pyotr Chardynin. In 1919 in Germany was produced a silent film \"EugenOnegin\", based on the novel.The film was directed by Alfred Halm,starring Frederic Zelnik as Onegin. In 1958 Lenfilm produced a TV film \"Eugene Onegin\", which was, actually,not a screen version of the novel, but screen version of the opera \"Eugene Onegin\" by Pyotr Tchaikovsky.Film was directed byRoman Tikhomirov and starring Vadim Medvedev as Onegin, Ariadna Shengelaya asTatyana and Igor Ozerov as Lensky.The principal solo parts were performed bynotable opera singers of the Bolshoi Theatre.The film was wellreceived by critics and viewers. In 1972 Zweites Deutsches Fernsehen (ZDF)produced a music film \"Eugen Onegin\" In 1988, Decca/Channel 4produced a film adaptation of Tchaikovsky\'s opera, directed by Petr Weigl. Sir Georg Solti acted as theconductor, while the cast featured Michal Docolomanský as Onegin and Magdaléna Vášáryová as Tatyana. Onemajor difference from the novel is the duel; Onegin is presented asdeliberately shooting to hit, and is unrepentant at the end. In 1994 wasproduced TV film Yevgeny Onyegin, directed by Humphrey Burton, starringWojtek Drabowicz as Onyegin. The 1999 film, \"Onegin\",is an English adaptation of Pushkin\'s work, directed by Martha Fiennes, starring Ralph Fiennes as Onegin, Liv Tyler as Tatiana and Toby Stephens as Lensky.The film compresses theevents of the novel somewhat; for example the Naming Day celebrations takeplace on the same day as Onegin\'s speech to Tatiana. The 1999 film, much likethe 1988 one, also gives the impression that during the duel sequence Onegindeliberately shoots to kill.This screen version was also criticized for plentyof mistakes and inconsistencies. ********** Alexander SergeyevichPushkin (Russian: Алекса́ндр Серге́евич Пу́шкин, pronounced [ɐlʲɪˈksandrsʲɪˈrgʲevʲɪtɕ ˈpuʂkʲɪn], ) (June 6 [O. May 26] 1799–February 10 [O.S. January 29] 1837) was a RussianRomantic author who is considered to be the greatest Russian poet and thefounder of modern Russian literature.Pushkin pioneered the use of vernacularspee in his poems and plays, creating a style of storytelling—mixing drama,romance, and satire—associated with Russian literature ever since and greatlyinfluencing later Russian writers. Born in Moscow, Pushkin published his firstpoem at the age of fifteen, and was widely recognized by the literaryestablishment by the time of his graduation from the Imperial Lyceum inTsarskoe Selo. Pushkin gradually became committed to social reform and emergedas a spokesman for literary radicals; in the early 1820s he clashed with thegovernment, which sent him into exile in southern Russia. While under thestrict surveillance of government censors and unable to travel or publish atwill, he wrote his most famous play, the drama Boris Godunov, but couldnot publish it until years later. His novel in verse, Eugene Onegin, waspublished serially from 1825 to 1832. Pushkin and his wife Natalya Goncharova,whom he married in 1831, later became regulars of court society. In 1837, whilefalling into greater and greater debt amidst rumors that his wife had startedconducting a scandalous affair, Pushkin challenged her alleged lover, Georgesd\'Anthès, to a duel. Pushkin was mortally wounded and died two days later.Because of his liberal political views and influence on generations of Russianrebels, Pushkin was portrayed by Bolsheviks as an opponent to bourgeoisliterature and culture and a predecessor of Soviet literature and poetry.Tsarskoe Selo was renamed after him. Pushkin\'s father Sergei Lvovich Pushkindescended from a distinguished family of the Russian nobility which traced itsancestry back to the 12th century. Pushkin\'s mother Nadezhda Ossipovna Gannibaldescended through her paternal grandmother from German and Scandinaviannobility. Her paternal grandfather, i.e. Pushkin\'s great-grandfather, a pageraised by Peter the Great, was Abram Petrovich Gannibal, who was born inAfrica. One theory is that he came from an area in northern Ethiopia (thenknown as Abyssinia), on the banks of the Mareb River, from a town called Logon.More recent research, however, indicates that he came from the Sultanate ofLogone-Birni south of Lake Chad in Cameroon. After education in France as amilitary engineer, Gannibal became governor of Reval and eventuallyGeneral-en-Chef for the building of sea forts and canals in Russia.Born inMoscow, Pushkin published his first poem at the age of fifteen. By the time hefinished as part of the first graduating class of the prestigious ImperialLyceum in Tsarskoe Selo near Saint Petersburg, the Russian literary scenerecognized his talent widely. After finishing school, Pushkin installed himselfin the vibrant and raucous intellectual youth culture of the capital, SaintPetersburg. In 1820 he published his first long poem, Ruslan and Lyudmila,amidst much controversy about its subject and style.Pushkin gradually becamecommitted to social reform and emerged as a spokesman for literary radicals.This angered the government, and led to his transfer from the capital (1820).He went to the Caucasus and to the Crimea, then to Kamenka and Kishinev, wherehe became a Freemason. Here he joined the Filiki Eteria, a secret organizationwhose purpose was to overthrow the Ottoman rule over Greece and establish anindependent Greek state. He was inspired by the Greek Revolution and when thewar against the Ottoman Turks broke out he kept a diary with the events of thegreat national uprising. He stayed in Kishinev until 1823 and wrote there twoRomantic poems which brought him wide acclaim, The Captive of the Caucasusand The Fountain of Bakhchisaray. In 1823 Pushkin moved to Odessa, wherehe again clashed with the government, which sent him into exile at his mother\'srural estate in Mikhailovskoe (near Pskov) from 1824 to 1826. However, some ofthe authorities allowed him to visit Tsar Nicholas I to petition for hisrelease, which he obtained. But some of the insurgents in the DecembristUprising (1825) in Saint Petersburg had kept some of his early political poemsamongst their papers, and soon Pushkin found himself under the strict controlof government censors and unable to travel or publish at will. He had writtenwhat became his most famous play, the drama Boris Godunov, while at hismother\'s estate but could not gain permission to publish it until five yearslater. The drama\'s original, uncensored version would not receive a premiereuntil 2007. In 1831, highlighting the growth of Pushkin\'s talent and influenceand the merging of two of Russia\'s greatest early writers, he met NikolaiGogol. After reading Gogol\'s 1831-2 volume of short stories Evenings on aFarm near Dikanka, Pushkin would support him critically and later in 1836after starting his magazine, The Contemporary, would feature some ofGogol\'s most famous short stories. Later, Pushkin and his wife NatalyaGoncharova, whom he married in 1831, became regulars of court society. When theTsar gave Pushkin the lowest court title, the poet became enraged: he felt thisoccurred not only so that his wife, who had many admirers—including the Tsarhimself—could properly attend court balls, but also to humiliate him. In 1837,falling into greater and greater debt amidst rumors that his wife had startedconducting a scandalous affair, Pushkin challenged her alleged lover(correction: man who insulted his wife), Georges d\'Anthès, to a duel which leftboth men injured, Pushkin mortally. He died two days later.The governmentfeared a political demonstration at his funeral, which it moved to a smallerlocation and made open only to close relatives and friends. His body wasspirited away secretly at midnight and buried on his mother\'s estate.Pushkinhad four children from his marriage to Natalya: Alexander, Grigory, Maria, andNatalia (the last of whom married, morganatically, into the royal house ofNassau and became the Countess of Merenberg).Critics consider many of his worksmasterpieces, such as the poem The Bronze Horseman and the drama TheStone Guest, a tale of the fall of Don Juan. His poetic short drama\"Mozart and Salieri\" was the inspiration for Peter Shaffer\'s Amadeus.Pushkin himself preferred his verse novel Eugene Onegin, which he wroteover the course of his life and which, starting a tradition of great Russiannovels, follows a few central characters but varies widely in tone and focus.\"Onegin\" is a work of such complexity that, while only about ahundred pages long, translator Vladimir Nabokov needed two full volumes ofmaterial to fully render its meaning in English. Because of this difficulty intranslation, Pushkin\'s verse remains largely unknown to English readers. Evenso, Pushkin has profoundly influenced western writers like HenryJames.Pushkin\'s works also provided fertile ground for Russian composers.Glinka\'s Ruslan and Lyudmila is the earliest important Pushkin-inspiredopera, and a landmark in the tradition of Russian music. Tchaikovsky\'s operas EugeneOnegin (1879) and The Queen of Spades (1890) became perhaps betterknown outside of Russia than Pushkin\'s own works of the same name, whileMussorgsky\'s monumental Boris Godunov (two versions, 1868-9 and 1871-2)ranks as one of the very finest and most original of Russian operas. OtherRussian operas based on Pushkin include Dargomyzhsky\'s Rusalka and TheStone Guest; Rimsky-Korsakov\'s Mozart and Salieri, Tale of TsarSaltan, and The Golden Cockerel; Cui\'s Prisoner of the Caucasus,Feast in Time of Plague, and The Captain\'s Daughter Tchaikovsky\'sMazeppa; Rachmaninov\'s one-act operas Aleko (based on The Gypsies) and TheMiserly Knight; Stravinsky\'s Mavra, and Nápravník\'s Dubrovsky. Thisis not to mention ballets and cantatas, as well as innumerable songs set toPushkin\'s verse. Suppé, Leoncavallo and Malipiero, among non-Russian composers,have based operas on his works.Some attention has also been given to Pushkin\'sapparent anti-Semitism in his writings, as well as those of his contemporaries,Fyodor Dostoevsky and Nikolai GogolAlexander Pushkin is usually creditedwith developing Russian literature. Not only is he seen as having originatedthe highly nuanced level of language which characterizes Russian literatureafter him, but he is also credited with substantially augmenting the Russianlexicon. Where he found gaps in the Russian vocabulary, he devised calques. Hisrich vocabulary and highly sensitive style are the foundation for modernRussian literature. Russian literature virtually begins with Alexander Pushkin.His talent set up new records for development of the Russian language andculture. He became the father of Russian literature in 19th century, markingthe highest achievements of 18th century and the beginning of literary processof 19th century. Alexander Pushkin introduced Russia to all the Europeanliterary genres as well as a great number of West European writers. He broughtnatural speech and foreign influences to create modern poetic Russian. Thoughhis life was brief, he left examples of nearly every literary genre of his day:lyric poetry, narrative poetry, the novel, the short story, the drama, thecritical essay, and even the personal letter. From him derive the folk talesand genre pieces of other authors: Esenin, Leskov and Gorky. His use of Russianlanguage formed the basis of the style of novelists Ivan Turgenev, IvanGoncharov, and Leo Tolstoy. Pushkin was recognized by Nikolay VasilyevichGogol, his successor and pupil, the great Russian critic Vissarion GrigoryevichBelinsky, who produced the fullest and deepest critical study of Pushkin\'swork, which still retains much of its relevance. Alexander Pushkin became aninseparable part of the literary world of the Russian people. He also exerted aprofound influence on other aspects of Russian culture, most notably in opera.Translated into all the major languages, his works are regarded both asexpressing most completely Russian national consciousness and as transcendingnational barriers. Pushkin’s intelligence, sharpness of his opinion, hisdevotion to poetry, realistic thinking and incredible historical and politicalintuition make him one of the greatest Russian national geniuses Poems 1820 – Ruslani Lyudmila (Руслан и Людмила); English translation: Ruslan and Ludmila1820-21 – Kavkazskiy plennik (Кавказский пленник); English translation: ThePrisoner of the Caucasus 1821 - Gavriiliada (Гавриилиада);English translation: The Gabrieliad 1821–22 – Bratya razboyniki(Братья разбойники); English translation: The Robber Brothers 1823 –Bakhchisaraysky fontan (Бахчисарайский фонтан); English translation: TheFountain of Bakhchisaray 1824 – Tsygany (Цыганы); Englishtranslation: The Gypsies 1825 – Graf Nulin (Граф Нулин); Englishtranslation: Count Nulin 1829 – Poltava (Полтава); Englishtranslation: Poltava 1830 – Domik v Kolomne (Домик в Коломне);English translation: The Little House in Kolomna 1833 - Andjelo(Анджело); English translation: Angelo 1833 – Medny vsadnik(Медный всадник); English translation: The Bronze HorsemanVersenovel 1825-32 – Yevgeny Onegin (Евгений Онегин); English translation: EugeneOneginDrama 1825 – Boris Godunov (Борис Годунов); Englishtranslation: Boris Godunov 1830 – Malenkie tragedii (Маленькиетрагедии); English translation: The Little Tragedies Kamenny gost(Каменный гость); English translation: The Stone Guest Motsart iSalyeri (Моцарт и Сальери); English translation: Mozart and Salieri Skupoyrytsar (Скупой рыцарь); English translations: The Miserly Knight, TheCovetous Knight Pir vo vremya chumy (Пир во время чумы); Englishtranslation: A Feast During the PlagueProse 1831 – Povestipokoynogo Ivana Petrovicha Belkina (Повести покойного Ивана Петровича Белкина);English translation: The Tales of the Late Ivan Petrovich Belkin Vystrel(Выстрел); English translation: The Shot, short story Metel(Метель); English translation: The Blizzard, short story Grobovschik(Гробовщик); English translation: The Undertaker, short story Stanzionnysmotritel (Станционный смотритель); English translation: TheStationmaster, short story Baryshnya-krestyanka translation: The Squire\'s Daughter, short story1834 - Pikovayadama (Пиковая дама); English translation: The Queen of Spades, shortstory 1834 - Kirdzhali (Кирджали); English translation: Kirdzhali,short story 1834 - Istoriya Pugacheva (История Пугачева); Englishtranslation: A History of Pugachev, study of the Pugachev\'s Rebellion1836 - Kapitanskaya dochka (Капитанская дочка); English translation: TheCaptain\'s Daughter, novel 1836 - Puteshestvie v Arzrum (Путешествие вАрзрум); English translation: A Journey to Arzrum, travel sketches1836 - Roslavlev (Рославлев); English translation: Roslavlev,unfinished novel 1837 - Arap Petra Velikogo (Арап Петра Великого);English translation: Peter the Great\'s Negro, unfinished novel 1837 - Istoriyasela Goryuhina (История села Горюхина); English translation: The Storyof the Village of Goryukhino, unfinished short story 1837 - Yegipetskienochi (Египетские ночи); English translation: Egyptian Nights,unfinished short story 1841 - Dubrovsky (Дубровский); Englishtranslation: Dubrovsky, unfinished novel Tales in verse1830 - Сказкао попе и о работнике его Балде; English translation: The Tale of thePriest and of His Workman Balda 1831 - Сказка о царе Салтане;English translation: The Tale of Tsar Saltan 1833 - Сказка о рыбаке ирыбке; English translation: The Tale of the Fisherman and the Fish1833 - Сказка о мертвой царевне; English translation: The Tale of theDead Princess 1834 - Сказка о золотом петушке; English translation: The Tale of the Golden Cockerel.**** Avraham Shlonsky (March 6, 1900 – May 18, 1973; Hebrew:אברהם שלונסקי‎; Russian:Авраам Шлёнский) was a significant and dynamic Israeli poet and editor born in RussianEmpire. He was influential in the development of modern Hebrewand its literature in Israel through his many acclaimed translationsof literary classics, particularly from Russian, as well as his own originalHebrew children\'s classics. Known for his humor, Avraham Shlonsky earned thenickname \"Lashonsky\" from the wisecrackers of his generation (lashonmeans \"tongue\", i.e. \"language\") for his unusually cleverand astute innovations in the newly evolving Hebrew language LifeShlonskywas born to a Hasidic family in Kryukovo (Poltava guberniya,now a part of Kremenchuk, Ukraine). His younger sister was composer andpianist Verdina Shlonsky. In 1913, when Shlonsky was 13,he was sent to Ottoman Palestine to study at the prestigious Herzliya Hebrew High School in Tel Aviv.When the First World War broke out, he returned to Ukraine. Shlonsky publishedhis first poem in 1919 in the newspaper Ha-Shiluah. In 1921 he relocated to thePalestine as a development worker,paving roads and working in construction. At the same time, he contributed toJewish cultural life with songs for satirical stage productions, as well as thePurim holidaycostume balls that were a tradition in early Tel Aviv. Even at this early stagein his career as a poet, he showed a tendency for witty writing, incorporatinglinguistic innovations in the revived and developing Hebrew language. Duringthis period, he edited the literary columns of several newspapers. Gradually,he became the representative of the \"rebel\" group that rebelledagainst the poetry of Bialik and his generation, expressing a particular aversion towhat was seen as their characteristic clichés. The new group tried to create avibrant, youthful, lively poetry, and not perpetuate what they saw as beingsomething second-handfrom the literary establishment. For years, perhaps as a result of this stance,Shlonsky\'s poetry was not taught in schools alongside the classic poems of Bialik,Shaul Tchernichovsky, DavidShimoni, and others. In 1933 Shlonsky founded the literary weekly Turim,which was identified with the \"Yachdav\" society in which major poets NatanAlterman and Leah Goldberg were also members. As an editor,Shlonsky gave aspiring poets an opportunity to publish their poems. Dahlia Ravikovitch merited one such opportunitywhen her first poem was published in the literary quarterly Orlogin edited byShlonsky. Shlonsky was noted for his sensitive activism on behalf of Boris Gaponov. Gaponov, aseditor of the CommunistParty daily in an auto plant in Soviet Georgia, translated the Georgianepic The Knight in the Panther\'s Skinby Shota Rustaveli into Hebrew. Shlonsky orchestratedthe publication of this translation in Israel, and was among those who workedto enable Gaponov to immigrate to Israel. When Gaponov, who had learned Hebrewby listening to Israel Radio broadcasts, finally immigrated to Israel he wasalready very ill and close to death. Israeli television viewers of the timeremember the image of Shlonsky stroking Gaponov\'s head in a loving, fatherlymanner, as the latter lay on his sickbed. Despite his reputation for comic wit,Shlonsky did not shrink from the tragic situation around him, but ratherexpressed it in his works. In the poem \"Distress\" he laments the fateof the victims of the First World War and of the Jews who suffered from pogroms in Ukraineduring the Bolshevik revolution. During theHolocaust, he published a collection of verse titled ממחשכים(From Concealing Shadows) in which he expressed his feelingsfrom that darkest period in human history. He particularly lamented the fate ofthe Jews in a diseased Europe. Avraham Shlonsky died in Tel Aviv in 1973.AwardsIn1946, Shlonsky received the Tchernichovsky Prize for exemplarytranslation, for his translations of the novel EugeneOnegin by Alexander Pushkin and the play Hamlet by Shakespeare. In 1959, he was awarded the BialikPrize for literature (jointly with EliezerSteinman).[1]In1967, he was awarded the Israel Prize, for literature.WorksHiscollection of verse Rough Stones exemplifies his work as a mature poet. Poemsfrom the Long Corridor is a collection of reflections on the nature of life anddeath. Shlonsky is also considered among the finest Hebrew children\'s poets,for books such as Mickey Who? and Me and Tali in Lhama Country. The playUtzli-Gutzli, about the dwarf Rumpelstiltskinof German legend, became a classic among Hebrew children\'s plays. In Shlonsky\'stranslation for the stage, all of the monologues and dialogues are spoken inrhyme. They incorporate sophisticated wordplay using the Hebrew language at ahigh level. The following example from Utzli-Gutzli is presented with atransliteration, placing accents on stressed syllables. An unauthorizedtranslation follows In the translation of foreign-language works, Shlonsky\'suniqueness is evident. The characteristic Shlonskian style is recognizable fromthe very first lines of each work and continues to be greatly admired bywriters and readers of Hebrew literature. Shlonsky translated many of theworld\'s best known classics: William Shakespeare, AntonChekhov, Nikolai Gogol, RomainRolland, and others. In his distinguished translation of Hamlet, which ascore of Hebrew translators had already tackled, Shlonsky\'s distinctivelanguage is again evident. He translated Shakespeare from Russian, as he wasnot a master of English. Yet translating at second hand did not mar the qualityof his result. When Hamlet tells his mother Gertrude not to sleep with hisuncle Claudius, who murdered his father, Shlonsky uses the consonance min`idodayikh midodi: \"withhold your love from my uncle\", where theunusual word dodayikh (your love) evokes the Songof Solomon. The conventional translation is al ta`ali al yetzu`ei dodi (donot go upon my uncle\'s couch). Selected punsattributed When some firm-breasted young women passed by, he letslip, \"Here\'s the latest, leading with the top story\" (in literaltranslation, here\'s the news / new women, chief part foremost). On the MatateTheater: \"the bit of tea (me`at ha-te) left over from the kettle\"(kumkum, the name of the previous theater). To a lass who wanted to present himwith a flower (perach): \"I\'ll gladly accept your soft mouth (perakh)!\" When she tried to explain that she meant -rach with a chet (theletter of the Hebrew alphabet), he replied \"I\'ll take the sin (the wordchet) upon myself!\" (an allusion to Romeo and Juliet, Act I, Scene 5). Selectedcoinages attributed derekh-agav (intentional misspelling of theoriginal phrase, meaning \'by the way\'; in Shlonsky\'s version, it means \'the wayof longing\'): flirt. someone who goes around with a transistor radio glued toone ear: radiot. being cheated on by a woman for the first time: keren hayesod.The phrase, literally \"The Foundation Fund\", is the Hebrew name ofthe UnitedIsrael Appeal. But the word keren (fund) can also mean \"horn\" asin cuckoldry—oras in the horned Moses of art history. being cheated on by a womanhabitually: keren kayemet (the Jewish National Fund, where kayemet means\"enduring\"). the Ararat (אררט)café in early Tel Aviv, where penniless writers gathered: It\'s an acronym for\"Ani Rotze Rak Te (אני רוצה רק תה,I only want tea).\" (Misspelled) the eagerness of literary folk for prizes:prize-titution (prastitutzia).