Mychajlo Draj-Chmara

from Wikipedia, the free encyclopedia
Mychajlo Draj-Chmara, 1910
Cyrillic ( Ukrainian )
Михайло Опанасович Драй-Хмара
Transl. : Mychajlo Opanasovič Draj-Chmara
Transcr. : Mychajlo Opanasowitsch Draj-Chmara
Cyrillic ( Russian )
Михаил Афанасьевич Драй-Хмара
Transl .: Mikhail Afanas'evič Draj-Chmara
Transcr .: Mikhail Afanasewitsch Draj-Chmara

Mychajlo Opanasowitsch Draj-Chmara (born September 28th July / October 10th  1889 greg. In Mali Kaniwzi near Solotonoscha , Poltava Governorate , Russian Empire ; † January 19, 1939 at Kolyma , Siberia , Soviet Union ) was a Ukrainian poet , translator and linguist .

Life

Professional career

Draj-Chmara attended the school in Zolotonosha and the high school in Cherkassy . After four years of high school (1902–1906), he received a scholarship to the " Pavlo Galagan " college in Kiev , where he first devoted himself to writing. It was there that he wrote his first poem Dewuschka w aloj kosynke (1910) in Russian, which was published in the magazine of the college "Lukomore". After graduating from college (1910), Draj-Chmara enrolled in the Faculty of History and Philology at the University of Kiev , where he was awarded a four-year scholarship.

In 1913 Draj-Chmara went abroad (including Zagreb, Budapest, Belgrade and Bucharest) on behalf of the Kiev University to research Slavic languages ​​and literatures. After his research trip, Draj-Chmara married Nina Dlugopolska in 1914. He graduated from university in 1915 and began preparing for his habilitation.

During the First World War , Draj-Chmara received a scholarship to the University in Petrograd , where he worked for the next two years. In the spring of 1917 he returned to the Ukraine, where he helped set up an independent Ukrainian education system. From 1918 to 1923 he held the post of private lecturer at the chair of Slavic Philology. From 1923 to 1929 he worked as a professor at the Medical Institute of Kiev University and researched from 1930 to 1933 at the Institute of Linguistics at the Ukrainian Academy of Sciences .

Political persecution

Since the 1930s, Draj-Chmara lived almost exclusively in captivity. Draj-Chmara was arrested for the first time in 1933. He was accused of counter-revolutionary activities at the university in Kamenez-Podolski . Although the proceedings against him were discontinued in 1934, he was no longer allowed to exercise his office as professor. Although Draj-Chmara denied the allegations, he was arrested again in 1935 and all of his manuscripts were confiscated. In 1936 he was sentenced in Moscow to five years in the Kolyma camp for his alleged participation in a secret, counter-revolutionary organization. In 1938 his sentence was extended by 10 years. Draj-Chmara died on January 19, 1939. There is no complete agreement about his death, but certain documents testify to his death from a weak heart in Kolyma.

Create

Draj-Chmara was best known for his translations. With them he made a significant contribution to the development of literature. It is said that he spoke 20 languages. Draj-Chmara mainly translated from French, Italian and Czech and translated the poetry of Maurice Maeterlinck , Paul Verlaine and Maksim Bahdanowitsch , among others . Unfortunately, many of his translations were confiscated by the NKVD because they did not conform to the convictions of the Bolsheviks .

Works

General

Draj-Chmara was not recognized as a talent in the society of that time, as his works were considered very complicated encrypted. He is known for the emotions he expresses in his poems and for a lush language with neologisms . A "normal" contemporary could not find any meaning behind his poems. Only after his death did he gain the reputation of the famous poet in the 20th century - due to the depth and emotions in his works.

In general, only one volume of poetry was published under the name Porosten during Draj-Chmara's lifetime . This happened around the time Draj-Chmara became a member of the Literary History Society of the Academy of Science in 1924. There he frequented circles of the Kiev neoclassics, whose members also worked at the Academy of Science and other universities. Draj-Chmara and other members wanted to isolate themselves from the so-called prolet cult and strove to isolate the leading epoch. Her art dealt more with the historical-cultural and moral-psychological problems. His two other works, Solnechnye marschi and Schelesnyj gorisont , were not published until the 1969s - after his death. In 1962 his monograph Lesja Ukrainka was published. Schisn in tvochestvo .

Although the works of Draj-Chmara are assigned to neoclassicism , they have many features of symbolism .

Sonnet Lebedi

The Lebedi sonnet appeared in the Almanach Literaturnyj Jarmarok in Charkow in 1928 and was to be the last poem published during his lifetime. He was accused of hidden criticism of the political leadership in the poem. After that he found no more opportunities to publish his poems.

First verse of the poem Lebedi :
На тихім озері, де мріють верболози,
давно приборкані, влітку й восени і
то плюскоталися, то плавали вони,
і шиї гнулися у них, як буйні лози.

scientific transliteration (DIN 1460):
Na tychim ozeri, de mrijut verbolozy,
davno pryborkani, i vlitku j voseny
to pljuskotalysja, to plavaly vony,
i šyï hnulysja u nych, jak bujni lozy.

Translation:
On the quiet lake where the willows dream,
tamed for a long time, as in summer, as in autumn,
sometimes they splash, sometimes they swim,
and their necks bend like impetuous vines.

Honors

  • Street in Kamenez-Podolska called "MA Draj-Chmara"
  • In the National University of Ukraine a chair in the Ukrainian, Latin and English languages ​​was named after him.

literature

  • Stefan Simonek: Osip Mandel'štam and the Ukrainian Neoclassics - On the Interrelation between Art and Time . Verlag Otto Sagner, Munich 1992, ISBN 3-87690-529-X

Web links

Commons : Mychajlo Draj-Chmara  - Collection of Images

Individual evidence

  1. Stefan Simonek: Osip Mandel'štam and the Ukrainian Neoclassics - On the interrelation of art and time . Verlag Otto Sagner, Munich 1992, ISBN 3-87690-529-X , p. 7; with further references
  2. Stefan Simonek: Osip Mandel'štam and the Ukrainian Neoclassics - On the interrelation of art and time . Verlag Otto Sagner, Munich 1992, ISBN 3-87690-529-X , p. 146; with further references