Emil Verhaern ( Netherlands. Emile Verhaeren , 1855-1916) - Belgian French-speaking poet and playwright, one of the founders of symbolism .
| Emil Verharn | |
|---|---|
| Emile verhaeren | |
 Portrait of Theo van Reisselberg (1915) | |
| Birth name | Emile Adolphus Gustavus Verhaeren |
| Date of Birth | |
| Place of Birth | Sint Amands , Antwerp Province, Belgium |
| Date of death | |
| Place of death | |
| Citizenship (citizenship) | |
| Occupation | poet , playwright |
| Direction | symbolism |
| Genre | poem , play |
| Language of Works | French |
| Autograph | |
Content
Biography
Born in a middle-class French-speaking Flemish family. From childhood, he spoke in the Flemish dialect , which at that time was not taught in schools. At age 11, Emil was sent to study in Ghent , in a Jesuit boarding school, where he became an absolute francophone. Then he studied at the Law Faculty of Leuven University , where he became close to the circle of writers who stood at the origins of Young Belgium . He published the first articles in student magazines.
After graduation, he worked as a lawyer for some time; attended the weekly salon of Edmond Picard, where young writers and avant-garde artists gathered. In the end, having examined only two cases, Verharn decided to devote himself completely to literature. He published poems and articles about art, in which he supported young artists, including J. Ensor .
In 1883 he published the first poetry collection Flemish, inspired by the works of J. Jordaens, D. Teniers Sr. , J. Wall . Verharn's early poetry, praising the sensual beauty of a Flemish woman and prone to naturalism , was enthusiastically greeted by avant-garde circles, but caused a scandal in his small homeland; his parents even tried to buy up the whole circulation with the help of a local priest and destroy it.
The failure of the next collection of Monks (1886) and health problems led the poet to a deep internal crisis, the result of which was the so-called. “Tragic trilogy”: “Evenings” (1887), “Crash” (1888), “Black Torches” (1890), in which Verharn first turned seriously to symbolism and mysticism .
On August 24, 1891, Verharn married Martha Massen, a talented watercolor artist from Liege . She is dedicated to the soulful lyrical trilogy: “The Bright Clock” (1896), “Afternoon Clock” (1905), “Evening Clock” (1911).
After the collection “Fields of Delirium” (1893), “Octopus Cities” (1895) followed, where Verkharn turned to urbanism and contrasted the dying village with an ever-devouring giant city.
In 1898, Verharn moved to Saint-Cloud , traveled with lectures in Europe. At the turn of the century, the poet gained worldwide fame; his works were translated into more than 20 languages. In November-December 1913 he visited Russia.
With the outbreak of World War I , which had a devastating effect on him, the poet left for England, where he received honorary degrees from several universities. In exile, he published the book “The Scarlet Wings of War” about the tragedy of little Belgium, which fell victim to the aggressor.
The poet was killed at the Rouen station: the crowd drove him from the platform under the wheels of the departing train.
The French government was going to honor Verkharn by burial in the Pantheon , but the family refused, and the poet was buried in the military cemetery of Adinkerque (commune of De Panne ). At the height of the war, due to the danger of an advancing enemy attack, the remains of Verkharn were transported to Wolveringham and in 1927 were finally buried in his small homeland, in Sint-Amands, where the Provincial Museum of Emil Verharn has been operating since 1955.
Depicted on a 1955 Belgian postage stamp.
Russian translations and editions
The first published Russian translations from Verkharn (1906) belong to V. Ya. Bryusov . Before the October Revolution, Verkharn’s translations were worked, in particular, by A. A. Blok , N. A. Vasiliev , M. A. Voloshin , and Ellis . In Soviet times, the most voluminous and fruitful work on the translations of Verkharn was done by G. A. Shengeli and V. P. Fedorov . Also among the translators are Y. Alexandrov , A. Golemb , M. A. Donskoy , B. K. Livshits , E. L. Lineckaya , E. G. Polonskaya , V. A. Rozhdestvensky , S. V. Shervinsky .
- E. Verharn . Poems about modernity translated by Valery Bryusov. M .: Scorpio, 1906.
- E. Verharn. Bloodied Belgium. M., 1916
Notes
- B BNF ID : Open Data Platform - 2011.
- ↑ Emile Verhaeren
- ↑ 1 2 Encyclopædia Britannica
- ↑ RKDartists
- ↑ SNAC - 2010.
- ↑ Verharn Emil // Great Soviet Encyclopedia : [in 30 vol.] / Ed. A.M. Prokhorov - 3rd ed. - M .: Soviet Encyclopedia , 1969.
Literature
- Fried Y. V. Emil Verharn: The creative path of the poet. - M .: Fiction, 1985. - 272 p.
- Fritsche V.M. Emil Verharn. - M .: Department of Publishing and Book Trade of the Moscow Council R. and K. D., 1919. - 31 p. - (To whom the proletariat erects monuments).
- Emil Verharn: Bibliographic Index / Comp. M. Lindstrom. - M .: Book Chamber, 1988 .-- 206 p.
Links
- Z. A. Vengerova . Verharn, Emil // Brockhaus and Efron Encyclopedic Dictionary : 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
- Verkharna's works on the site Lib.ru: Classics
- Verharn Museum in Sint Amands
- Texts on the topic N. S. Gumilyov. About Verkharn // Published November 24, 1908 in the newspaper Rech in Wikisource
- Article from the Mirrors of the Week