Anton Chekhov Racconti Pdf To Excel
Full text of 'THE BOOK WASDRENCHEDCa.l No. Zfc 3/^ s / '7N ' ^,Title 6i?' 6'^.^^ jkh i u MU t.^&3^ was divorced fromher, and later married the artist Nana Krog.About the beginning of the present centuryhe was able to acquire a farm, which hecalled Jenle (Alone). This he made, a littleparadoxically, into a center of folk life andevery midsummer held a sort of rusticChautauqua to which thousands of peoplecame in order to listen to lectures on politicaland social questions, sing songs, and enjoy aconvivial time. Aakjier was not satisfied withthe knowledge of the Jutland peasants whichhe had absorbed from childhood, but appliedhimself to study of their language, localhistory, conditions of living, and attitudetoward life. He wrote a biography of theleading Jutland writer of an older generation,Steen Stecnscn Blicher. Aakjaer's fiction isstrongly agitatorial, though sometimes hisshort stories are gems of humor and sym-pathetic understanding.
There is no doubtthat he contributed to improving the lot ofthe very poor. At the same time he inspiredthe common people with a sense of theirhuman worth and with love of the land. Heis most nearly classic in his lyrics, which haveearned for him the name of the DanishBurns. The best known are Rugens Sange(1906; Songs of the Rye). Written sometimesin a Jutland dialect and dealing with thenature and people of Jutland, they havenevertheless become the property of thewhole Danish people and, set to music, aresung wherever Danes gather.See: Waldemar Westergaard, 'Jeppe Aak-jaer/' American-Scandinavian Review, XII(1924), 665-669.H.
L.Aanrud, Hans (1863-, Norwegian writer ofshort stories and plays), was born of a peasantfamily in Gausdal in the central region ofthe country. Since his dbut in 1887 he haslived his most active years in Oslo as acritic and literary man. He has written harshmodern comedies on the life of the lowermiddle class of the capital; but his fame restson short stories and children's books pictur-ing the peasants of his home valley before thecoming of industrialism.
Aanrud's horizon isthat of his farmers. His conception of societyis static, his psychology may have a touch ofconventionalism. But within his narrow fieldhe is a master: love makes him seeing. Hisobservation is that of the realist, but he ap-proaches his subject with a respectful devo-tion which links him to the contemporary'home-soil novelists.' In his short stories thevalley is reborn with intimate preciseness ofdetail; landscape, climate and atmosphere,work and play, characters and situations, areportrayed with striking clarity. Aanrud haslittle interest in the somber and complicatedaspects of life.
His chef-d'oeuvre, 'En vin-ternat' (Eng. Tr., 'A Winter Night/' Ameri-can-Scandinavian Review, Vol. XVI, 1928,pp. 483-491), in En vinternat og andrefortaellinger (1896), is a drama of passion andtragedy compressed into a few pages of terrify-ing reticence; a few of his other stories givesurprising glimpses into the subconscious. Butwhat he mostly loves to bring out are thegood, solid qualities of his people, theirsimple wisdom, their patience and stalwarthealth, described with mild humor and oftenthrough a sun haze of memory. With specialtenderness he follows the fate of the weakand humble the old folks, the children, thepoor; his charming children's books are pureidyls, almost without a shadow (e.g., SidselSidsaerk, 1903, S0lve Solfeng, 1910; Eng. Tr.of both in Sidsel Longskirt and Solve Sun-trap, Two Children of Norway, 1935).
Hisstyle springs from that of the popular tradi-tion, terse, restrained, and suggestive. It isAanrud who has set the tone for the shortstory of Norwegian farm life.S.
S.Aasen, Ivar (1813-1896, Norwegian linguistand poet), born in 0rsta, Sunnm0re, wasthe son of a tenant fanner. Self-taught, hebecame the standard-bearer of the Norwegiancountryman's movement towards cultural andABELLlinguistic self-expression. When 23 years oldhe staked out his revolutionary life plan: tocreate for Norway a truly national standardlanguage, based on the speech of the ruraldistricts, which should take the place of thecurrent Dano- Norwegian. He began hisdialect studies in 1838, and out of these grewthe first systematic grammars and dictionariesof Norwegian dialects, Det norske folkesprogsgrammalik (1848; Grammar of the NorwegianPopular Language) and Ordbog over delnorske folkesprog (1850; Dictionary of theNorwegian Popular Language).
But Aasendid more than provide the outward structureof the new language which he proposed forhis people in 1853 and called Landsmaal(country language). He also proved by emi-nent example that his language could be amedium of poetry. The cream of his folklyrics are found in Symra (1863; The Anem-one) and in his folk play Ervingen (1855; TheHeir). These works have become householdtreasures in all Norway, particularly thecountryside. Their themes are drawn fromthe homely, everyday feelings and experiencesof the countryman, and they emphasize alove of home and the native culture, a bit onthe bleak and sober side, but deeply human.See: H. Koht, 'Ivar Aasen, granskar ogmaalreisar,' in Minneskrift (1913); E. Haugcn,'The Linguistic Development of Ivar Aasen'sNew Norse,' Publications of the ModernLanguage Association, XLVIII (1933), 558-597, and 'Ivar Aasen as a Writer of Dano-Norwegian/' Scandinavian Studies and Notes,XH (1932), 53-59-E.
H.Abell, Kjeld (1901-, Danish dramatist), born inRibe, southwest Jutland, is one of the fewreally arresting Scandinavian dramatists ofour day. His early career seems to have beenabout equally divided between a seriousinterest in political science and a remarkableflair for stage designing, the latter interestultimately leading to his dramatic authorship.His first play, Melodien, der blev vaek (1935;Eng. Tr., The Melody That Got Lost, 1939),with its delicate lyric touch, its gracious,studied charm, and its remarkably skillful useof modern theatrical 'revue' techniques, wasan instantaneous success in Denmark, wherethe half-realistic, half-idyllic folk characterfound the subtle indirections of form and senti-ment in the play exactly to its taste. Five otherplays have come in rapid succession fromAbell's pen, the most important of which isthe serious modern problem-play AnnaSophie Hedvig (1939; Eng.
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In ScandinavianPlays of the Twentieth Century, Ser. 2, 1944).Here Abell's early penchant for theatrical'modernism in its most capricious formsgives way to a much more sober, essentiallyrealistic form, and the subtle indirections ofdramatic sentiment so characteristic of mostof the earlier plays are transformed intocertain sharply focused ideas which bear un-mistakably upon basic contemporary politicalproblems. The central ethical problem of theplay is it right to commit what society calls'murder' in defense of one's deepest moralsentiments? Is posed specifically with refer-ence to contemporary political developments.Though the main action of the play takesplace within the limited confines of a schoolworld in a small Danish provincial town, theobvious 'message' of the play (that the indi-vidual has the moral right to take a life whenhis sense of justice has been outraged) isaimed at the political doctrines and practicesof European Nazi and Fascist thought. Theplay contains also a severe arraignment of amodern bourgeois society as such, and thepositive position taken is strongly leftist ifnot actually Communist in its ultimate socialand political implications. The Communistthought is not, however, very clearly de-veloped in the play, chiefly perhaps becausethe play centers its dramatic focus mostsharply upon the theme of human protest inits immediate psychological and ethical formsrather than upon the broader concerns ofeconomic, social, and political theory andprograms. What the future has in store forAbell as a dramatist is difficult to say.
Onething, however, seems clear at present: thesesix plays bear indubitable witness to the factthat no other living Scandinavian dramatisthas such an amazing control of the purelytechnical resources of the modern stage. Andit may be added that such a play as AnnaSophie Hedvig suggests that Abell's geniushas in it rich reserves of dramatic materialwhich grow immediately and unafraid outof the blood-soaked soil of a contemporaryworld with all its brutal challenge to seriousmodern thought.See: Alrik Gustafson, 'Introduction/. inScandinavian Plays of the Twentieth Century,Ser. G.About, Edmond (1828-1885, French novelist,playwright, and journalist), was born at Dieuzein Lorraine. He attended the Lyce Charle-magne in Paris, where he proved himself abrilliant student, then entered the EcoleNonnale Sup^rieure, and in 1851 won a stateACHARDscholarship and spent the three next years atthe Ecole Fran^aise d'Ath&nes. Although veryerudite, he was not destined to remain a merescholar. On his return to Paris he publisheda volume of bright, witty, and at times satiri-cal reporting, La Grtce contemporaine (1854),which opened to him the doors of the Revuedes deux mondes.
In 1855, however, the novelTolla (Eng. Tr., 1855; Tolla is apparently anadaptation of Vittoria Savarelli's Storia delsecolo XIX, 1841) raised a tempest of indigna-tion among critics, who accused him ofplagiarism; and the storm had not yet abatedwhen a three-act comedy of his, Guillery(earlier title, L'Effrontd), dismally failed aftertwo performances (1856). In a series of wittyand impertinent articles which appeared inthe Figaro above the signature Valentin deQudvilly, About cheerfully flayed his de-tractors.
In the meanwhile, by his successfulVoyage d trovers I'Exposition des Beaux-Arts(1855) and a succession of amusing sketches inthe Moniteur, Mariages de Paris, he had fullyvindicated himself. His exuberance found an-other outlet in four novels which to this dayare widely read: Le Roi des Montagnes (1856;Eng. Trs., The King of the Mountains, 1861,1897, 1 92)f an amusing story of Greek bandits,made into an opera in 1913 by Victor Lon,Germaine (1857), Les Echasses de Maitre Pierre(1857), and Trente et quarante (1858).About had also traveled in Italy, sojourningfor a while in Rome, and had written a violentsatire against the temporal power of the pope,La Question romaine (1859; Eng. Tr., TheRoman Question, 1859), which was first pub-lished in Brussels because permission to pub-lish it in France was for a time withheld. Hecontinued his antipapal campaign throughweekly articles in the Opinion nationale,which were then published under the generaltitle Lettres d'un bon jeune homme d sacousine Madeleine (1861) and of which a newseries appeared in 1863.
In lighter mood heoffered in 1859 a one-act play, Risette, ou lesMillions de la mansarde, given at the Gymnase,but at the same time he was writing a greatfive-act drama containing very bold anti-Roman implications. This piece, Gaetano, wasaccepted by the TheStre Fran^ais but not pro-duced there; the Odon staged it in 1862, anda storm of protests caused it to be withdrawnafter only four evenings; it was given re-peatedly in provincial cities, never withoutcausing an uproar, About's political activitywas kept up in articles, pamphlets, and books(e.g., Le Progr&s, 1864; L'ABC du travailleur,1868) which have lost interest today.
Whenthe Franco-Prussian War broke out, he wentas a reporter to the battlefields. After thearmistice he joined the ranks of the Republi-cans, supported Thiers, and together withSarcey (q.v.) and a few others founded theSi&cle (1871), which was characterized bystrong anticlerical and antimonarchistic senti-ments. L'Alsace (1872) is a severe indictmentof the Bismarckian policy and a warning thatAlsace will prove to be a vulture tearing theside of the German Empire. About neverceased writing novels: L. Homme d Voreillecassee (1861), an amusing and fanciful episodeof the Napoleonic Wars, Le Nez d'un notaire(1862), Le Cas de M.
Gu&rin (1862), Madelon(1863). Some of his earlier plays have been re-published in a collection called Thddtrcimpossible. In 1869 appeared Le Fellah: Sou-venirs d'Egypte.About presented himself for election to theFrench Academy in 1870, but his political andreligious writings had deeply offended a ma-jority of the members, who denied him theirvotes.
Fourteen years later, in 1884, he waselected to the seat of Jules Sandeau, but diedbefore the official reception.See: M. Thtebaut, Edmond About (1936).A. Sz.Abromowitz, Sholem Yakob, see Mendelemocher sforim.Achard, Marcel (1899-, French dramatist), wasborn at Lyon.
His love of the theatre was re-vealed very early; at the age of seven he toldthe principal of the school he attended that hewould become a dramatist. At the age of 10 apuppet play he wrote was produced. Criticsagree that Achard's plays belong to the theatreof fantasy. His first success was Voulez-vousjouer avec mod (Atelier, 1923), in which thecharacters are clowns and the action takesplace in a circus. The dialogue is clever andcharming. In La Vie est belle (Th&Ure dela Madeleine, 1928) the hero is a character,here named Charlemagne, whom Achard intro-duces in several later plays a sort of 'belovedvagabond.' The author throws together, inimprobable situations, characters who in ordi-nary life would have little opportunity tomeet.
The joy of living is the dominant noteof the play. Jean de la lune (Comdie desChamps-Elyses, 1929) also enjoyed long popu-larity as a play and as a film.
The principalmale character is related to the Charlemagneof La Vie est belle. He is an idealist, andalthough he seems to be a dreamer, he under-stands human psychology. His faith in thewoman he loves, despite her infidelity, tri-umphs at the end and forces her to accept hisADAMphilosophy.
A more somber note is sounded inLa Belle Marinitre (Com6die Franchise, 1929).Domino (Comdie des Champs-Ely ses, 1932;Eng. Tr., 1932) was played in New York.In his criticism of PStrus (Comdie desChamps-Elys^es, 1934), Jacques Copeau ( Etre, ou les Feux du Sabtiat(1888); an autobiographical story, Les Imagessentimentales (1893); a powerful tetralogy, LaForce (1889), L f Enfant d'Austerlitz (1902), LaRuse (1903), Au soleil de juillet (1903); andalso Le Trust (1910) and Le Lion d'Arras(1920). Another group, L'Epoqiie, consists of20 novels.
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Besides these cyclic fictions, PaulAdam published 18 volumes of essays (e.g.,Vues d'Amerique, 1906; La Morale de laFrance, 1908; La Morale de V education, 1908),four volumes inspired by the war of 1914, andfour dramas. Compact, sometimes overwrittenand confused, these works are impressivemanifestations of an unusually powerful cre-ative genius. By his cosmic vision, by his abilityto analyze the soul of collectivities, to animatecrowds and groups of people, Paul Adamappears as a forerunner of what Jules Romains(q.v.) named unanimism.See: Marcel Batilliat, Paul Adam (1903);Louis Bertrand, ' 'Le Mystfcre des foules' et1'ceuvre de Paul Adam,' Revue hebdomadaire,Anne XXX (1921), Tome I, pp. 133-159;Camille Mauclair, Paul Adam (1921); W.Scheifley, 'An Epic Genius: Paul Adam/'Sewanee Review, XXIX (1921), 76-89.M. C.Adama van Scheltema, Carel Steven (1877-1924, Dutch poet), was born at Amsterdam.He attended the municipal Gymnasium,studied medicine for a short time, went on thestage, became an art dealer, and finally decidedto devote himself entirely to literature and tothe interests of the Social Democratic LaborParty. His socialism made him an opponent ofthe editors of De Nieuwe Gids (The NewGuide), self-centered adherents of 'art forart's sake.' He was not of the school thatbelieves art to be a cult for the chosen few.
Tohim there could be no art that was not for themany. In one of his songs he likened the heartsof men to rippling brooks which all come to-gether into one glittering stream, a stream ofbeauty underneath life's turmoil, which carriesthe voices of all those hearts to the wide,ocean-like, and infinite dream. The poet, inother words, is not the interpreter of his ownself, but must, while giving utterance to hisemotions, voice in that utterance the feelingsthat live inarticulate in the community ofmen. Adama van Schelterna was, indeed, asinger for the people, and the people listenedand gave echo to his song. Each new book thatwas published was seized upon by the com-posers, who vied with one another in settinghis ditties to music. In a vigorously writtenprose work entitled Grondslagen eener nieuwePoezie (1908; Foundations for a New Poetry)he formulated his ideas of what this poetry forthe many should be, but his theory was lesseffective than his practice. His songs will stillbe living folk art when his prose is forgotten.A.
B.Ady, Endre (1877-1919, Hungarian poet andwriter), was born in rmindszent and died inBudapest. Among Ady's ancestors there wereCalvinist ministers and also members of theminor gentry. He went to secondary school inNagykdroly and Zilah and studied law inDebrecen; he was a journalist in Debrecen andNagyv^rad. In this city he met a highlycultured woman whom he apostrophized asLda; there was an exultant and pathetic tonein this relationship.
In 1915 Ady marriedBerta Boncza, a woman much younger thanhe. He traveled a great deal and often visitedAFINOGENOVthe Riviera and Paris. His stories and articlessent from Paris to Budapesti Napld (BudapestLedger), a daily paper, and to Nyugat (West),a progressive literary bimonthly, aroused con-siderable discussion; conservative politiciansand publicists attacked him as a heretic. Adyopposed the Hungarian ruling classes, theircomplacency, their indifference to social prog-ress.
Tournament Reminders:You or your partner must be in line with fish within 30 minutes after the stop time to have your fish weighed. This was discussed at a club meeting and only if you or your partner with fish are in line by 30 minutes after the stop time, will your fish be weighed. Not on the ramp, in the parking lot on boat, etc.
Must be in line!You must pay your entry fee before you weigh your fish or they will not be weighed.Please Do Not Call tournament directors or board members later than 10:00pm CST to sign up for tournament.Also as a reminder, please try your best to keep fish alive. With summer months on us, fish will need ice, aeration or Keep Alive granules to keep fish alive.For tournament questions contact Robert Johnson, contact information available on membership tab.GOOD LUCK! Club NewsThe River City Bass Club of Austin continues a long standing tradition of purchasing and distributing Christmas dinners on Christmas Eve. This is one of the favorite traditions for the bass club and represents one way of giving back to the Austin community.This year, the club was able to provide 26 full meals of turkey or ham to 25 families in the greater Austin Metropolitan area. Meals were purchased from funds raised by activities associated with the club's annual open tournament.Additional money came from friends of the club that contributed independently and from club members own pockets to add more food and small gifts for the families.This year, members helping with the meal distribution are: Robert Johnson, Tim Champlin and his son, Don Blumrich, Dennis Creech, Dan and Joan (?) Clawson, Roy Aleman and CA Aleman.