Leonid martynov short biography. Martynov, Leonid Nikolaevich

Martynov Leonid Nikolaevich (1905 - 1980), poet, translator.

Born in Omsk in the family of a railway engineer, he spent his childhood on the Great Siberian Railway, in his father's service car. He graduated from the 4th grade of the gymnasium in Omsk. He began writing poetry as a high school student. The first publication in 1921 ("We are involuntary futurists ..." - in the Omsk magazine "Art"). He was a rural bookseller, participated in geological and geodetic expeditions, traveled a lot in Siberia, Semirechye, Turkestan.

Martynov’s “dangerous” interest in the past of Siberia served in the 30s as the basis for exile (and his friend, the poet S. Markov) to the North, to Vologda (the image of a “passerby” in the poem “Did you notice - / A passerby walks around the city? ..” ( 1935, 1945) - autobiographical).

Upon returning to Omsk, Martynov wrote poems (the first poems: "Old Omsk", "Admiral's Hour", both - 1924): "The True Story of Uvenkai, a pupil of the Asian school of interpreters in the city of Omsk" (1935-36), "The Story of the Russian Engineer (1936), Tobolsk Chronicler (1937), Homespun Venus (1939), Poetry as Magic (1939) and others. historical and everyday material, polyphony, the scale of the historical and philosophical background. Siberia in Martynov's epic is a country of civilization created by people of different classes, which arose at the crossroads of the cultures of many peoples; Siberia in the poems is a land that gives birth and takes under its protection strong, bright and free souls. Original poetic style: the classical meter is conveyed in a long, prose line.

Martynov's first book, Poems and Poems (1939), was published in Omsk. In 1940, two collections appeared in Moscow and Omsk under the title Poems. In the collections "Lukomorye" and "Ercinsky Forest" (both - 1945) the fairy-tale-fantastic theme of Lukomorye, characteristic of the lyrics of the 30s, is completed.

Accused by post-war criticism of the apolitical and timeless nature of his poetry, the singer Lukomorye was deprived of the opportunity to publish for almost a decade. Martynov’s wide popularity began with the release of the collection “Poems” (1955), consonant with the time of social renewal, the emancipation of man, and his liberation from fears: mold…/ The case smells like art. / Mankind wants songs” (“Something New in the World…”, 1948, 1954); determine the main tone of Martynov’s poetry in the book of poems “Degree of warmth”, “Poems are not written out of humility”, “Trace”, “Voices”, etc.

In the collections "New Book" (1962), "Birthright" (1965), "Voice of Nature" (1966), "People's Names" (1969), "Hyperboles" (1972) - the phenomenon of a lyric poet who claims to build - in verse - “his state”, where he “creates everything anew”. Martynov is a chronicler of spiritual shifts in the minds of the people of the 20th century; lyrics - a diary of the states in which humanity has been and will still be (poems by Martynov far-sighted). The emotional reaction of the poet to what is happening in the world is born in Martynov's lyrics as a direct consequence of the knowledge of this world (the reader of poems joins the very process of knowledge - from the point of view of an archaeologist, astronomer, mathematician, biophysicist, etc.). Martynov's lyrics strongly express the renaissance principle, the idea of ​​a person's responsibility for everything that happens, for the fate of the Earth (“Dedalus”, “People”, “It seems to me that I have risen ...”, “King of Nature”, etc.).

In the collections "Knot of Storms" (1979), "Gold Reserve" (published in 1981) - the lyrics of the results ("... having made all the sharp attacks, / You slowly draw conclusions"), to which the poet comes before the abyss of eternity.

Leonid Martynov in his youth. Photo 1920s

And you?
Entering any house -
And in gray
And in blue
Climbing steep stairs
In apartments flooded with light,
Listening to the sound of the keys
And giving an answer to a question,
Tell:
What trace will you leave?
Track,
To wipe the parquet
And looked askance after
Or
Invisible lasting trace
In someone else's soul for many years?

The Siberian chronicler, who won early laurels with ironic transcriptions of the Tobolsk chronicles, which brought him the fame of a clever girl and the brand of a rebel, for which reason he was subjected to repression.

After the war - one of the most powerful poets, who became a kind of intellectual teacher of the "sixties".

« absolutely not striving for this, Leonid Nikolaevich and outwardly most of all resembled a poet. When tall, strong, with his head held high, deep in himself, he walked along the street, it seemed that he was surrounded by some kind of mystery.».

Altai writer Mark Yudalevich

Leonid Nikolaevich Martynovwas born on May 22, 1905 in Omsk in the family of Nikolai Ivanovich Martynov, a hydraulic engineer of communications, and the daughter of a military engineer, teacher Maria Grigorievna Zbarskaya in Omsk. The Siberian family of the Martynovs comes from the "Vladimir peddler-bookman Martyn Loshchilin, who settled in Semipalatinsk."

Leonid Martynov made his debut in print in 1921 with notes in the Omsk newspapers Signal, Gudok, and Rabochy Put. The first poems were published in the collection "Futurists", published in the marching printing house of the agitation steamer "III International". He was a member of the futuristic literary and artistic group "Chervona Troika" (1921-1922).

At the end of 1921 Martynovleaves to enter VKHUTEMAS, but soon returned due to the disorder of life.

In 1924MartynovbecameAs a traveling correspondent for the newspaper Sovetskaya Sibir (Novonikolaevsk), he traveled all over Western Siberia and Kazakhstan. Participated in geological expeditions.

Journalist N.V. Feoktistov, poet L.N. Martynov

In 1927, the editor of Zvezda, Tikhonov, published Leonid Martynov's poem "The Correspondent", the first publication outside of Siberia.

In 1930, Martynov's first book was published in Moscow - essays on the Irtysh region, Altai and Kazakhstan "Roughage, or Autumn Journey along the Irtysh" (1930).

In the photograph, 1929 Markov (he is the middle one among those standing) among Siberian writers. E. Zabelin, L. Martynov are standing next to him; sitting - N. Anov, N. Feoktistov, I. Eroshin.

In 1932, Martynov handed over to the editors of the Young Guard a book “short stories about love and hate during the years of the beginning of socialist perestroika,” which was never published and is now considered lost.

The artist V. Ufimtsev, S. Markov and L. Martynov bent over an African idol, sculpted by Ufimtsev from a birch stump. Photo in Martynov's house

In 1932, Leonid Nikolaevich Martynov was arrested on charges of counter-revolutionary propaganda and sentenced in the case of the so-called "Siberian Brigade" under article 58/10 of the Criminal Code of the RSFSR to exile for three years in the Northern Territory. (Rehabilitated by the USSR Prosecutor's Office on April 17, 1989 posthumously). Leonid Martynov spent his administrative exile in Vologda, where he lived from 1932 to 1935. He worked in the local newspaper Krasny Sever, where he met his future wife, Nina Popova. After the exile, the two of them returned to Omsk.

The poet calls the publications of Uvenkaya and Tobolsk Chronicler in Siberian Lights the beginning of "real literary fame"VivianaItin in 1936. According to Martynov, Itin played a big role in his life: "... We were united by many creative and, I would say, political, state interests".

In 1939, literary fame came to Martynov: the book "Poems and Poems" was published (Omsk, 1939). Poems with historical Siberian themes were noticed and appreciated by K. M. Simonov in his review of Three Poems (Literaturnaya Gazeta, July 1939). The following year, a historical essay about Omsk "The Fortress on Om" and the book "Poems" (came out simultaneously in Moscow and Omsk) were published.

In 1942, thanks to the efforts of the writer Kalinchenko, Martynov was admitted to the Writers' Union of the USSR. In 1943 Simonov offered him his place as a front-line correspondent in Krasnaya Zvezda. Martynov returned to Omsk "for things", but was immediately drafted into the army, to the Omsk Infantry School. For health reasons, he was released from military service, and served as a writer - he wrote the history of the school.

The collection "Lukomorye", "slaughtered" by A. A. Fadeev, was published in 1945 by the efforts of the new chairman of the Union of Writers of the USSR N. S. Tikhonov.

LUKOMORYE

Who will answer - where is she: The sea flooded her, Buried underground, Swept away by a hurricane? Who will answer - where is it, the Legendary country of Old fairy tales - Lukomorye? . . . . . . . . . . . . Hello northern Russia! You, Ugra neighbor, hello! A fairy tale, rule over reality here! I can't tell you apart. The north wind, mighty, drives snow clouds, - They have fur collars. Squirrels fall alive, gray-haired sables fly from these shaggy clouds Right into the tundra, beyond the Urals. There my ancestor took them. . . . . . . . . . . . . . . . . . . . . I know: Where the north is wild, Where the al tongue flashed, - There will be Lukomorye! There, by the distant shores, where the sea waters rumble, Where the reborn peoples have risen from the snows - Lukomorye is mine there! There she stands, rich, Leaning on a spear, and perhaps on a gun, The young maiden Zlata. I do not know who she is - an engineer or a shepherdess, But the distant hut that is visible behind the fir trees, Again full of fairy tales. Hello wonderful country! 1945

In February 1946 Leonid Martynov moved to Moscow. In December 1946, Literaturnaya Gazeta published a devastating article by V. M. Inber about the book of poems Ertsinsky Forest (Omsk, 1946). After sharp criticism and "studying" in Moscow, Omsk and Novosibirsk, the book's circulation was destroyed, and access to the press was closed for nine years.

And casually threw a snake to me: Everyone has their own fate! But I knew that it was impossible to live like this - To live wriggling and sliding.

1949

All this time, the poet wrote "on the table" and earned money by translations. He translated into Russian poems by English (Dibdin, Tennyson), Czech (Jan Neruda), Chilean (Pablo Neruda), Hungarian (Adi, Gidash, Iyes, Petofi, Madach, Attila), Lithuanian (Mezhelaitis), Polish (Kokhanovsky, Mickiewicz, Tuwim, Slovak, Pshibos, Vazhik, Norvid, Galchinsky), French (A. Rimbaud, V. Hugo, C. Baudelaire), Italian (Quasimodo, Severini), Yugoslav (Zhupanchich, Krlezha). According to Leonid Martynov, he translated about one hundred thousand poetic lines. For his translation activities, he was awarded the Silver Cross (1949), the Golden Star (1964) and the Silver Star (1970) orders by the Hungarian government.

The first book after a forced downtime was published in 1955. The book "Poems" was "the first poetic bestseller" after the war, immediately became a rarity. It was republished in 1957. After that, Martynov began to be published so often that Akhmatova remarked with displeasure on this occasion that "it is harmful for a poet to publish often." Despite the recognition, the poet led a closed life, and already during his lifetime he is called nothing more than a “quiet classic”.

Literary historians often mention Martynov's name in connection with his speech at the all-Moscow meeting of writers in 1958, where Pasternak was discussed. Martynov, who had just returned from Italy, was summoned to the podium to talk about the attitude of the Italians towards Pasternak. Martynov expressed annoyance at the "sensational chatter" of the foreign press around one name. The literary community forgave this speech to Martynov, who sincerely disliked Pasternak.

In 1960-1970 Martynov wrote a book of memoirs, which he planned to call "Stoglav". He wrote that "Stoglav" "refers not only to the emergence of one or another of my poems, but, being truthful and clear, as far as possible and - the whole structure of life ". However, the sequence of chapters was broken becausetime and censorship did not allow all the chapters to be printed at the same time.

In 1974went outThe first collection of autobiographical short stories "AirFrigates” By the beauty of style and breadth of coverage, it can be called an “encyclopedia” of the life of Omsk artists of the 1920-1940s. The second collection of short stories - "Features of Similarity" - was released after the death of the poet (1982). And after a quarter of a century, in 2008, all the other short stories of the book "Stoglav" (2008) were published.

In 1979, his wife Nina dies, and on June 21, 1980, the poet himself. He was buried in Moscow at the Vostryakovsky cemetery.

http://wreferat.baza-referat.ru/Leonid_Martynov

A THREAD

And why In the evenings, Like all gray-haired veterans,

Talking so much

About everything that was here and there,

You, O participant in old dramas,

Are you talking about that scar?

Don't want to touch old wounds?

Can't find the right words...

The poor man stabbed me out of fear. They told him: “Destroy, otherwise you will have an ax and a chopping block! Go!" and put a knife in his hand. Well, he stabbed in a big way, But you can’t save the skin with this, - He himself soon became a pile of dust. The price to it, of course, a penny. But his widow is alive, Yes, now the children have grown up. What harm to them? Why words? What are these memories for? Let them think that their father

Worthy of heaven, not hell.

Innocents to break hearts

Unnecessarily it is not necessary.

Yes, reopen these wounds,

Sometimes even more expensive.

A century can wait

Let the truth come out later!

And he touched the scar on the skin

This scar was as thin as a thread.

1970

Poetry Desperately complicated

And a lot of people have struggled with this.

Screaming that only soil is needed,

In mind, having only a grain ear.

But sometimes, rummaging through the rubble of words,

And where no grain grows,

We discover it, that is She is everywhere, and not her fault, That, both in the earth and in the sky, equally hiding, Like Erebus, crowning the South Pole, Poetry is not a puzzle, but is free To sound from any white spot, Like a long and medium wave, And on a wave of short news and story!

1970

Some verses They come for others And it seems, Some others are not worse: Others appear naked. Others are immediately fully armed ... Some verses - high, like poplars - Inspire immediately the thought of giants, Others - crumble like opal, Broken from poplar branches. Some verses - like an elk with horns, - Oh, we succeeded! - rise in all their grandeur, Others rustled underfoot The hunter who scared the prey. And it's good: The elk is alive and well, grazing, And nothing bad will happen!

1974

The last book of the outstanding poet Martynov. Born in 1905, a witness and participant in global changes in the life of mankind, in the minds of people, Leonid Martynov appears in his book as an interesting interlocutor, whose memory is phenomenal, and the range of interests is inexhaustible. The poet's desire to understand his own fate is combined with a deep interest in the fate of his compatriots, who believe in their future and fight for it.

• B. Slutsky wrote a poem "About L. N. Martynov", which had the subtitle "Article"

Martynov knows what the weather is like
Today in every corner of the earth:
Where the rain does not wait for a year,
Where the seas flowed to the seas.

Martynov is walking darker than clouds.
— ?
- Over the entire Volga region - not a cloud,
Or: - It's cold in Mexico City,
Again the tramp in the park froze.

Do you think that the tramp Hekube?
The sky above us is all doves.
Next to us cheerfully cooing
A scattering of public pigeons.

Martynov will squint blue, honest,
Superreal your eyes
And whispers the few he knows
Mexican words.

Thin, but strong, like a harsh thread,
It is associated with this harsh winter,
With a cloud that floats in the Volga region,
With everything that lives on this earth.

It seems to me that I have risen. I have lived. My name was Hercules. I weighed three thousand poods, I uprooted the forest with its roots. Hand stretched to the sky. Sitting down, I broke the backs of the chairs. And I died... And now I'm resurrected Normal height, normal weight I became like everyone else. I am kind, I am cheerful. I do not break the backs of chairs ... And yet I am Hercules.

Leonid Nikolaevich Martynov(1905-1980) - Russian poet. Laureate of the State Prize of the USSR (1974).

Biography
Born on May 9 (22), 1905 in Omsk in the family of Nikolai Ivanovich Martynov, a hydraulic engineer of communications, and the daughter of a military engineer, teacher Maria Grigoryevna Zbarskaya in Omsk. The Siberian family of the Martynovs comes from the "Vladimir peddler-bookman Martyn Loshchilin, who settled in Semipalatinsk."
He made his debut in print in 1921 with notes in the Omsk newspapers Signal, Gudok, and Rabochy Put. The first poems were published in the collection "Futurists", published in the marching printing house of the agitation steamer "III International". He was a member of the futuristic literary and artistic group "Chervona Troika" (1921-1922), which also included V. Ufimtsev, V. Ya. Shebalin and N. A. Mamontov. At the end of 1921, following N. A. Mamontov, he left to enter VKhUTEMAS, but both of them soon returned due to the disorder of life. Becoming a traveling correspondent for the newspaper Sovetskaya Sibir (Novonikolaevsk) in 1924, Martynov traveled all over Western Siberia and Kazakhstan. Participated in geological expeditions. In 1927, the editor of Zvezda, N. S. Tikhonov published the poem "Correspondent" - the first publication outside of Siberia. In 1930, Martynov's first book was published in Moscow - essays on the Irtysh region, Altai and Kazakhstan "Roughage, or Autumn Journey along the Irtysh" (Moscow, "Federation", 1930). In 1932, he handed over to the editors of the "Young Guard" a book "short stories about love and hate during the years of the beginning of socialist perestroika", which was never published and is now considered lost.
In 1932, he was arrested on charges of counter-revolutionary propaganda and sentenced in the case of the so-called "Siberian Brigade" under article 58/10 of the Criminal Code of the RSFSR to exile for three years in the Northern Territory. (Rehabilitated by the USSR Prosecutor's Office on April 17, 1989 posthumously). He spent an administrative exile in Vologda, where he lived from 1932 to 1935. He worked for the local newspaper Krasny Sever, where he met his future wife, Nina Popova. After the exile, the two of them returned to Omsk.
The poet called the publication of "Uvenkay" and "Tobolsk chronicler" in "Siberian fires" by V. Itin in 1936 the beginning of "real literary fame". According to the poet, Vivian Itin played a big role in his life: I would say political, state interests.”
In 1939, literary fame came to Martynov: the book "Poems and Poems" was published (Omsk, 1939). Poems with historical Siberian themes were noticed and appreciated by K. M. Simonov in his review of Three Poems (Literaturnaya Gazeta, July 1939). The following year, a historical essay about Omsk "The Fortress on Om" and the books "Poems" (came out simultaneously in Moscow and Omsk) were published.
In 1942, thanks to the efforts of the writer A. Kalinchenko, he was admitted to the USSR Writers' Union. In 1943, K. M. Simonov offered his place as a front-line correspondent in Krasnaya Zvezda. Martynov returned to Omsk "for things", but was immediately drafted into the army, to the Omsk Infantry School. For health reasons, he was released from military service, and served as a writer - he wrote the history of the school.
The collection "Lukomorye", "slaughtered" by A. A. Fadeev, was published in 1945 by the efforts of the new chairman of the Union of Writers of the USSR N. S. Tikhonov. In February 1946, L. N. Martynov moved to Moscow.
In December 1946, a devastating article by V. M. Inber about the book of poems "Ercinsky Forest" (Omsk, 1946) was published in Literaturnaya Gazeta. After sharp criticism and "studying" in Moscow, Omsk and Novosibirsk, the book's circulation was destroyed, and access to the press was closed for nine years. All this time, the poet wrote "on the table" and earned money by translations.
He translated into Russian poems by English (C. Dibdin, A. Tennyson), Czech (Jan Neruda), Chilean (Pablo Neruda), Hungarian (E. Ady, A. Gidash, D. Iyes, S. Petofi, I. Madach, J. Attila), Lithuanian (E. Mezhelaitis), Polish (J. Kokhanovsky, A. Mickiewicz, J. Tuwim, J. Slovatsky, J. Przybos, A. Vazhik, C. Norwid, K. Galchinsky), French (A Rimbaud, V. Hugo, C. Baudelaire), Italian (S. Quasimodo, A. Severini), Yugoslav (O. Zupancic, M. Krlezh) and other poets. According to L. M., he translated about a hundred thousand lines of poetry. For his translation activities, he was awarded the Silver Cross (1949), the Golden Star (1964) and the Silver Star (1970) orders by the Hungarian government.
The first book after a forced downtime was published in 1955 - the book "Poems" was "the first poetic bestseller" after the war, immediately became a rarity; in 1957 it was republished. After that, Martynov began to be published so often that Akhmatova remarked with displeasure on this occasion that "it is harmful for a poet to publish often." Despite the recognition, the poet led a closed life, and already during his lifetime he was called nothing more than a “quiet classic”
Martynov writes narrative and descriptive verses, but those in which a specific incident serves as an impetus for philosophical analysis predominate - in the form of direct reflection or in a figurative form. … The richness of Martynov's figurative language reflects both modern civilization and nature; he achieves sound impact with the help of alliterations and alignment of verbal rows.
- Cossack V. Lexicon of Russian literature of the XX century. - M., 1996. - S. 256.
Literary historians often mention Martynov's name in connection with his speech at the all-Moscow meeting of writers on October 31, 1958, where B. L. Pasternak was discussed. L. Martynov, who had just returned from Italy, was summoned to the podium to talk about the attitude of the Italians towards Pasternak. Martynov expressed annoyance at the "sensational chatter" of the foreign press around one name. Although Martynov added his voice to the chorus of denunciations of Pasternak, it was noted that his performance was far from being the harshest.
In 1960-1970. wrote a book of memoirs, which he planned to call "Stoglav". The poet himself wrote that "Stoglav" "concerns not only the emergence of one or another of my poems, but, being truthful and clear, if possible - the whole structure of life." However, time and censorship did not allow printing all the chapters at the same time, so the sequence of chapters is broken. The first collection of autobiographical short stories "Air Frigates" was published in 1974. In terms of the beauty of style and breadth of coverage, it can be called an "encyclopedia" of the life of Omsk artists of the 1920-1940s. The second collection of short stories - "Features of Similarities" - was released after the death of the poet (M .: Sovremennik, 1982). And, finally, after a quarter of a century, in 2008, all the other short stories of the book "Stoglav" were published (M.: Veche, 2008).
In 1979, his wife Nina died, and on June 21, 1980, the poet himself. He was buried in Moscow at the Vostryakovsky cemetery.
At that moment, when the departure of the great Russian poets of the 20th century was tragically felt, the presence of everyone who kept the tradition, who managed to breathe the air of the poetic renewal of the beginning of the century, was especially precious. Leonid Martynov was one of the last.
- Shaitanov I. Leonid Martynov // Russian literature of the XX century. - M., 2007. - S. 374.

Awards and prizes
USSR State Prize (1974) - for the book of poems "Hyperboles" (1972)
State Prize of the RSFSR named after M. Gorky (1966) - for the book of poems "Birthright"
three Orders of the Red Banner of Labor (1964, 1970, 1975)
"Silver Cross" (Order of Labor with rubies, 1949), "Gold Star" (1964) and "Silver Star" (1970) (all - Hungary)
Order of Cyril and Methodius, 1st class (Bulgaria, 1976)

Addresses
Omsk
1905-1909 - st. Camp (now - Zhukov St.; the house has not been preserved).
1909-1932, 1935-1946 - st. Krasnykh Zor, 30 (until 1919 - Nikolsky Prospekt). A monument of history and culture of regional significance "A.P. Vals' Residential House", a preserved one-story wooden house; is now in danger of being demolished.
Moscow
1946-1957 - st. 11th Sokolnicheskaya, 11, apt. 11 (now - 4th Sokolnicheskaya St.; the house has not been preserved).
1957-1980 - Lomonosovsky pr.

Musical works based on the poet's verses
Few songs have been written to Martynov's poems. One of the first musical works was I. Dunaevsky's cantata "We will come!" (1945). The cantata was written during the war years and is distinguished by "dramatic pathos and mournful solemnity."
In the fifties, M. Tariverdiev wrote a vocal cycle on the verses "Water", "Leaves", "Evening". The bard V. Berkovsky has a song "You treat me like fields ...". In the 1980s V. Butusov (rock group "Nautilus Pompilius") in the first album "Moving" used Hungarian poetry translated by Martynov ("In the Italian Opera", "The Battle with the Tycoon", "Music", "Hawk's Wedding"). In the following albums, "Nautilus" also resorted to Martynov's poetic translations - "The Prince of Silence" by Endre Ady became the title song for the fifth album of "Nautilus".
Alexander Lokshin wrote Symphony No. 9 for baritone and string orchestra to lyrics by Leonid Martynov (1975). Anton Shatko - song "Tenderness". Opera by Andrey Semyonov Prisoner of Omsk, 1996-1997 (based on the poem "The True Story of Uvenkay, a pupil of the Asian school of interpreters in the city of Omsk").
In 2001, composer Vladimir Evzerov wrote the song "Lyra" to the verses of Martynov, which was sung by Valery Leontiev

memory of a poet
In 1985, in the house-museum of S. Petofi in Kishkörösö (Hungary), a “park” was opened from sculptural portraits of the greatest poets from different countries who translated Petofi. On July 26, 1985, the first three monuments were erected: to the poets Giuseppe Casoni (Italy), L. Martynov and Ivan Vazov (Bulgaria). The monument to L. Martynov was made by the sculptor Tamás Szabó. Currently, 14 translators of Petofi's poetry are immortalized in the "park". This Hungarian sculpture remains the only monument to L. Martynov in the world.
In 1995, a boulevard in Omsk was named after the poet. The poet did not live on this street, but lived not far from here, on the street. Krasnykh Zor, 30 (former Nikolsky Prospekt). At the beginning of the boulevard in 2001, a memorial stone (three-ton basalt stone) was laid with the words on a granite plaque: "To the captain of air frigates Leonid Martynov from Omsk". Today, there is a whole alley of writers on Martynov Boulevard: memorial stones have been erected to writers whose fates are connected with Omsk, including the poet's contemporaries: P. Vasiliev, P. Dravert, G. Vyatkin, A. Sorokin and others.
The name of the poet was given to one of the municipal libraries of Omsk.
In Omsk, as a rule - in May, the "Martynov Readings" are held. In total they were four times: in May 1983, 1985, 1995 and 2005. In 2005, they were held as part of the anniversary events dedicated to the 100th anniversary of Martynov. Researchers complain that Martynov's literary heritage is extensive, that not everything has been published yet, and much has been lost in old domestic publications.

Interesting Facts
For 11 years, Martynov lived in Moscow at 11th Sokolnicheskaya Street, house number 11, apartment number 11, a room of 11 square meters. The poet considered the number eleven lucky. And he bequeathed on the day of his death to put eleven stones from his collection on his chest.
In his youth, Martynov, riding a boat with a friend on the Irtysh, out of mischief, "cut off the nose" of the glider, on which, as it turned out later, Admiral Kolchak himself was watching what was happening. Officers from the glider were waiting for friends on the pier. However, the Supreme Ruler told them: "Let the gentlemen of the gymnasiums through!", and the incident was over.
In 1932, the "anti-Soviet exiled writer" Martynov wrote a petition for his transfer outside Sevkrai. A year later, Moscow allowed: “You can send to Wed. Asia". However, since then, the poet's personal life has changed radically, and he wrote a new statement with a request to leave him in Vologda.
Friends of L. Martynov, writers, composers and artists:
A.Sorokin, G.Vyatkin, Ya.Ozolin, V.Ufimtsev, V.Shebalin, S.Markov, N.Mamontov, B.Zhezlov, N.Kalmykov, V.Itin, K.Konichev, N.Tikhonov, P. L. Dravert, A. Kalinchenko, A. Gidash and A. Kuhn, S. Kirsanov, I. Ehrenburg, B. Slutsky, N. Chukovsky, V. Utkov.
V. Butusov in the first album of "Nautilus" used the verses of Hungarian poets translated by Martynov.
Yuri Vizbor highly appreciated the poems of L. Martynov, especially the Tobolsk Chronicler, and the day before his death, in the hospital, he read this poem aloud.
B. Slutsky wrote a poem "About L. N. Martynov", which had the subtitle "Article"
Martynov knows what the weather is like
Today in every corner of the earth:
Where the rain does not wait for a year,
Where the seas flowed to the seas.

Martynov is walking darker than clouds.
- ?
- Over the entire Volga region - not a cloud,
Or: - It's cold in Mexico City,
Again the tramp in the park froze.

Do you think that the tramp Hekube?
The sky above us is all doves.
Next to us cheerfully cooing
A scattering of public pigeons.

Martynov will squint blue, honest,
Superreal your eyes
And whispers the few he knows
Mexican words.

Thin, but strong, like a harsh thread,
It is associated with this harsh winter,
With a cloud that floats in the Volga region,
With everything that lives on this earth.

Bibliography
Poems, poems, prose
Coarse fodder, or Autumn journey along the Irtysh: [Essays] M .: Federation, 1930.
Verses and poems. Omsk: Regional publishing house, 1939.
Fortress on Omi: [Historical essay]. Omsk: Omsk Regional State Publishing House, 1939 (on the cover: 1940).
Poems. Omsk: State Publishing House, 1940.
Poems. Moscow: Soviet writer, 1940.
For the Motherland: Poems. Omsk, Omgiz, 1941.
We will come: A book of poems. Omsk: Regional State Publishing House, 1942.
Forward, for our Lukomorye! Omsk, Omgiz, 1942.
Fire-color: A book of poems. Omsk: Regional State Publishing House, 1943 (on the cover: 1944).
The Tale of the Tobolsk Voivodeship Omsk: Omgiz, 1945 (reissue: Novosibirsk, Zap.-Sib. kn. izd-vo, 1970).
Lukomorye: A book of poems. Moscow: Soviet writer, 1945.
Ertsinsky Forest: Book of Poems. Omsk: OmGIZ, 1945 (on the cover: 1946).
Poems. M .: Young Guard, 1955 (reissue: 1957).
Lyrics: A book of poems. Moscow: Soviet writer, 1958.
Poems. M .: Fiction, 1961 (Series "Library of Soviet Poetry").
A new book. Book of poems. Moscow: Moscow worker, 1962.
Poems / [Introductory article by S. Zalygin]. Novosibirsk: Zap.-Sib. book. publishing house, 1964.
Poems. M .: Pravda, 1964 (B-ka "Spark").
Birthright: A Book of Poems. M .: Young Guard, 1965.
Poems and poems in 2 volumes. M.: Fiction, 1965.
Voice of nature. Book of poems. Moscow: Soviet writer, 1966.
Poems. M.: Fiction, 1967 (series "Library of Russian Soviet poetry in 50 books").
Human Names: A Book of Poems. M .: Young Guard, 1969.
First, second and third: Poems of different years. Moscow: Young guard, 1972.
Hyperbole: A Book of Poems. M .: Sovremennik, 1972 (reissue: Poems. M .: Sovremennik, 1978).
Selected lyrics. M.: Children's literature, 1973.
Air frigates: A book of short stories. M.: Sovremennik, 1974.
Ways of poetry. Moscow: Soviet Russia, 1975 (Writers about creativity).
Earthly Burden: A Book of Poems. M.: Sovremennik, 1976.
Collected works: In 3 volumes. M .: Fiction, 1976-1977.
Knot of Storms: A Book of Poems. M.: Sovremennik, 1979.
Gold Reserve: A Book of Poems. Moscow: Soviet writer, 1981.
Similarities: Novels. M.: Sovremennik, 1982.
Silence River: Poems and Poems, 1919-1936. (Foreword by S. Zalygin) M .: Young Guard, 1983 (series "In the Young Years").
Poems and poems. M .: Sovremennik, 1985 (Library of poetry "Russia").
Air Frigates: Novels. Omsk: Omsk book publishing house, 1985.
Poems and poems. L .: Soviet writer, 1986 (Library of the poet. Large series).
Poems. M .: Soviet Russia, 1987 (series "Poetic Russia").
Selected works in two volumes. M.: Fiction, 1990.
Spirit of creativity: Poems, poems. Moscow: Russian Book, 2000.
At the Doors of Eternity: Poems. M.: EKSMO-Press, 2000.
“The storm leafed through the calendar ...” M .: Young Guard, 2005.
Favorites. Moscow: Avanta + Encyclopedia World, Astrel, 2008 (Poetry Library series).
A Gift to the Future: Poems and Memoirs / Comp. G. A. Sukhova-Martynova, L. V. Sukhova. Moscow: Veche, 2008.

HIS LUKOMORIE(Poetic Hercules by Leonid Martynov)

The poet was amazing Leonid Nikolaevich Martynov! Revealing each time an unexpected facet, and seemingly contradicting himself as before, he remained an integral poetic being, erecting a literary edifice unique in all respects. Although the owner-builder inside it could not be seen immediately and not for everyone. Probably because Martynov's best poems are characterized by metaphorical condensation and some kind of special artistic density. Confessional-intimate intonation is almost not audible in his poetry. According to the poems of Leonid Martynov, it is not so easy to imagine the image of the poet himself, and even more so to learn something about him as a real person (this is just not the case when the author's biography is in his poems). Martynov often uses this metaphorical shell as protective armor. But when, finally, you understand the interconnections of his images and metaphors and truly penetrate and delve into the world of Martynov's poetry with its multilayered undercurrents, then the poet's face will begin to appear like an image on photographic paper.

But it's not just a whimsical imagery. According to his inner make-up and nature of talent, Leonid Martynov is a poet-researcher, a poet-scientist and a philosopher. He sometimes wrote in such a way that it was not enough just to read it - one also had to intensely delve into the text, to get to the bottom of the true meaning of what was said. It is no coincidence that many admirers of Martynov's talent noted as one of the main qualities of his poetics - a clever, often unexpected subtext. This, however, did not mean at all that he wrote too complicated or abstruse (although such complaints against him were not uncommon). On the contrary, according to Sergei Markov, “he usually took the most prosaic words, but combined them in such a way that they became poetic speech, only inherent in him.” Another thing is that a truly irrepressible passion for knowledge (and Martynov was well versed in history, philosophy, geography, and even some exact sciences) voluntarily or involuntarily led to the mental and intellectual richness of the verse, which became its remarkable feature.

Even in appearance, Leonid Martynov seemed to confirm his poetic individuality and originality, eluding a superficial glance. As the Altai writer Mark Yudalevich recalls, “not at all striving for this, Leonid Nikolayevich and outwardly most of all resembled a poet. When tall, strong, with his head held high, deep in himself, he walked along the street, it seemed that he was surrounded by some kind of mystery.

But Leonid Martynov did not immediately find his true poetic face. In his creative life there were many amazing metamorphoses. Well, the key to understanding Martynov's poetic biography can be found in a poem about Hercules:

I feel like I've been resurrected.

I lived. My name was Hercules.

I weighed three thousand poods,

I uprooted the forest,

Hand stretched to the sky

Sitting down, I broke the backs of the chairs.

And I died ... And now I have risen:

Normal height, normal weight

I became like everyone else. I am kind and cheerful

I don't break chair backs...

And yet, I am Hercules.

The poetic Hercules of Leonid Martynov began to show the first signs of life in the early 1920s, declaring himself first as a futurist and romantic, which, in general, is not surprising if we recall some of the facts of his biography.

Leonid Martynov was born on May 22, 1905 in Omsk, and spent his childhood on the Trans-Siberian Railway, in his father's service car - railway engineering and hydraulic engineering. As a ten-year-old boy, Martynov read poems that largely determined his future. It was Mayakovsky - a futurist in a "yellow jacket". And as a sixteen-year-old teenager, having barely finished five classes, Leonid Martynov decided to live by literary work.

The poetic debut of the young poet took place in 1921 in the Omsk magazine Art. In those youthful poems, the novice futurist wrote that "the girls of our days smell of earth and sheepskin coats."

It was a stormy time, calling for a journey, into unknown spaces, and heredity, probably, had an effect, so the young poet spent the 1920s wandering. Their geography is varied. First, young Martynov went to Moscow with a dream of education. Only now what - literary or artistic (he also had an undoubted talent as a painter) could not immediately decide. I was even going to enter VKHUTEMAS. But soon, unexpectedly for himself, he ended up in the Balkhash expedition of Uvodstroy. And then - off we go: Altai, the Baraba steppe, the Turksib under construction, the taiga Urmans of the Irtysh region ... And the occupations are very different and unexpected: a collector of medicinal herbs, a seeker of archaeological antiquities, a propagandist on a propaganda plane, a rural bookseller, a worker of a hydrotechnical expedition, a journalist ...

During these years, Leonid Martynov wrote a lot and chaotically: correspondence, essays and, of course, poems in which the poetic dough of the future Martynov rose on futuristic yeast. But just as the mature Martynov is not simple, so is his early poetry. On the one hand, fantastic ships sailing high above the city (“Air Frigates”), and on the other hand, extremely, seemingly, realistic and specifically accurate - “sugar was sweet and salt was salty” from a poem about port loaders. But there is an apparent contradiction here. Poems of different stylistic coloring are based, again, on a deep and capacious metaphorical subtext, which reflects the poetic view of Leonid Martynov, which is characteristic precisely by combining the fantastic and the real, the fabulous and the ordinary.

This feature is best and most clearly manifested, perhaps, in Martynov's favorite theme of Lukomorye. In the poetic stories of Leonid Martynov about a magical land, reality is mixed with fiction, and the real outlines of life cannot, as a rule, be separated from the insights and bold fantasies of the poet.

The poem "Lukomorye", written in 1937 after such wonderful poems as "The River Silence" and "Sunflower" and which became the beginning of the cycle of the same name, can to a certain extent be considered a milestone in Martynov's work. Leonid Nikolaevich was at that time at the age of Christ and at the time of literary and human maturity, his poetic Hercules was firmly on his feet.

Lukomorye and "air frigates" have become through images of all Martynov's poetry.

It is curious that Lukomorye will respond in the future not only in his lyrics, but also in his military journalism. During the Great Patriotic War, the poet devoted a lot of energy to operational newspaper work and actively participated in the TASS Windows published in Omsk. He publishes the essay "Lukomorye", which caused a great reader's response. A little later, the brochure “Forward, for our Lukomorye!” Appears, where the essay is supplemented by responses from front-line soldiers. He did not leave work on poetry, as evidenced by the poetic collections of these years "For the Motherland" (1941), "We will come" (1942), "Fire-flower" (1944). As the critic Viktor Utkov spoke about them, “in the poems, fairy tales, ballads, tales included in these collections, you clearly see the poet’s desire for the most vivid, strong and intelligible expression of thoughts and feelings that owned people in those difficult years, we feel the remarkable temperament of the poet ". And as Martynov himself wrote in his autobiography, “the theme of the lost and regained Lukomorye became the main theme of my poems during the Great Patriotic War ... I narrated, as best I could, about the struggle of the people for their Lukomorye, for their happiness.” As for the romantic image of "air frigates", which arose in 1922 (the poem of the same name was published in 1923 in the journal "Siberian Lights"), he echoed in the late prose of Leonid Martynov, in his book of short stories "Air frigates".

The theme of Lukomorye is closely connected with such a bright page in the poetic work of Leonid Martynov as his famous historical poems, including “The True Story of Uvenkai”, “The Seeker of Paradise”, “Home-woven Venus”, “Tobolsk Chronicler”, as well as thematically related to them prose works - "The Tale of the Tobolsk Voivodeship" and "Fortress on the Om".

Such a steep metamorphosis - from a futurist and a romantic, a singer of modernity into a historian and an epic - may seem unexpected. But only at first glance, since much of what overwhelmed the poet no longer fit into the form of small-format poetic genres, and the very atmosphere of the pre-war decade, increasingly filled with thunderstorm electricity, forced many artists to turn to the heroic past of the country.

The sense of history, which also took possession of Leonid Martynov, became extremely aggravated when he got to the Russian North, where the poet, by his own admission, "especially felt this interconnection of the past, present and future."

Martynov ended up in the North against his will. In 1932 he was arrested in the so-called "Siberian poets" case. Together with Pavel Vasiliev, Nikolai Anov, Yevgeny Zabelin, Sergei Markov and Lev Chernomortsev, he was accused of anti-Soviet sentiments and expelled. The poet spent several years first in Yaroslavl, then in Arkhangelsk and Vologda. In the editorial office of the Vologda newspaper Krasny Sever, he met his future wife Nina Anatolyevna, who worked there as a secretary-typist. At the end of 1935, already with her, he returned to Omsk and settled in a wooden house on Red Dawn Street. Here, in the main, his famous collection of historical poems was created.

In these large, richly invented poetic stories, the insight of a historian was combined with the insights of a poet. Leonid Martynov showed the past of Siberia in a completely new way. (In general, Martynov's Siberia is not just one of the main "themes", but also his very creative basis). Siberia for him is not only a wild, bleak backwoods. Bold, honest and inquisitive people live here, in whom the spirit of rebellion is ripening. Such, for example, as the Kazakh young man-interpreter Uvenkay, who translates the great Pushkin into his native language, Martyn Loshchilin, a hawker, or the homegrown chronicler coachman Ilya Cherepanov, who writes a true chronicle of Siberia ... Depicting them, the author finds deep connections between phenomena, it would seem, distant. Thus, the power of Martynov's artistic logic brings Uvenkay and Pushkin, the bookseller Loshchilin and the English poet, author of Paradise Lost, Milton, closer together. Leonid Martynov does not seek to portray major historical events and personalities. But the spirit of the era is present in his poems. And it was not so much the historical events and facts themselves that interested Martynov, but the origins of these events and the psychology of ordinary people - the true creators of history.

In historical poems, Leonid Martynov appeared, among other things, as a brilliant master of poetic narration, possessing this rare quality with exceptional ease. It is curious that he printed his poems specifically as prose - from field to field, however, in these long lines the poetic meter was immediately caught.

The historical poems of Leonid Martynov have become a major phenomenon in our literature. Splashing into them at once, swirling with one powerful prominence, Martynov did not return to this genre after 1940, when books with his poems were published one after another in Omsk and Moscow, which once again surprised critics and admirers of his talent.

Leonid Martynov met the end of the Great Patriotic War with the release of two collections of poetry - "Lukomorye" (Moscow, 1945) and Ertsinsky forest "(Omsk, 1946). The verses included there were written during the war years and were distinguished by a clear understanding of the processes of history, depth of thought and genuine poetic skill. Nevertheless, they caused a storm of indignation among a number of critics and colleagues. Especially the collection "Ercinsky Forest". Vera Inber, in particular, in her devastating review of Escape from Reality, wrote that Martynov’s “rejection of modernity is already turning into undisguised malice” and that “apparently, Leonid Martynov is not on the way with us. And if he does not reconsider his current positions, then our paths may part forever ... ". All this was a direct reaction to the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks published in August 1946 “On the magazines Zvezda and Leningrad”, after which the hard tightening of the “ideological nuts” began, which painfully backfired on Leonid Martynov. After 1946, his poems ceased to be published.

The poetic Hercules is dead...

Immediately after the war, Leonid Martynov moved to Moscow, settled with his wife in Sokolniki. I had to live with something. And one day, the Hungarian poet Antal Gidash appeared at the Martynovs' apartment, who offered to translate the verses of the Hungarian classic Sandor Petofi for the forthcoming one-volume book. Thus began the translation activity of Leonid Martynov, which is also impressive. Thanks to his efforts, poems and poems by Adam Mickiewicz, Desanka Maksimovich, Julian Tuwim, Arthur Rimbaud, Pablo Neruda appeared in Russian ... But most of all he translated Hungarian poets. For which the government of Hungary in 1950 awarded him the Order of the Golden Star of the first degree and the Order of the Silver Star.

Translations are translations, but the sun of the poet Leonid Martynov, it seemed, was already setting over the horizon. Fortunately, it didn't roll over. It was only temporarily covered by a cloud. Martynov continued to write poetry, until, however, "on the table." But, as critics later admit, "these were the heyday of his work."

The first step in the return of Leonid Martynov from oblivion was the article by Ilya Selvinsky "A Sore Question", published in 1954, where, speaking about Soviet poets, the author also mentioned Martynov as "a person who comprehended the secret of violin magic." In 1955, when Martynov turned fifty, through the efforts of young poets, his evening at the Central House of Writers took place, and a few months later, after a ten-year break, a book by Leonid Martynov was published by the Young Guard publishing house. It was called simply - "Poems", and instantly became popular. They started talking about the half-forgotten poet, after it, without exaggeration, he "woke up famous."

“What happened to me? he wondered. - I speak with you alone, // and for some reason my words // are repeated behind the wall, // and they sound at the same moment // in nearby groves and distant forests, // in nearby human dwellings // and on all kinds of the ashes, // and everywhere among the living. // You know, it's actually not bad! // Distance is not a hindrance // neither for laughter nor for a sigh. // Surprisingly powerful echo! // Obviously, such an era.

The era, indeed, was advancing for poetry favorable. Poetry became the ruler of thoughts and hearts, poured into the spaces of auditoriums, stadiums and squares, into huge book circulations. The poetic Hercules of Martynov, having plunged into the living water of this era, resurrected ...

Leonid Martynov worked hard and hard in the post-war decades. And he wrote about the present. Moreover, he himself considered these poems "more significant in his work than he wrote before." And not by accident. One after another, he publishes poetry collections. In 1966, Leonid Martynov's book Birthright was awarded the State Prize of the RSFSR, and in 1974 the book Hyperbole was awarded the State Prize of the USSR.

Yes, modernity occupies a central place in the poetry of Leonid Martynov in the 1950s and 1970s. But this does not mean that the past is forever gone from his work. Like the future, it continued to be constantly present in him, because, according to Martynov himself, he wrote "about today, which is being transformed into the day to come." On the other hand, no matter what Leonid Martynov talks about in his poems - about the Lukomorye, the excavations of Pompeii, about the 21st century - they are always very modern in spirit, because they constantly involve the reader in the sphere of intense search for truth.

Although modernity, it must be said, Leonid Martynov also understood it in a very peculiar way. Until his last days (and he died on June 21, 1980), the poet lived, as it were, on the verge of the past with the future, perceiving the present as a kind of moment of transition into the future.

“We all remember the future. // We call for a revolution of the spirit,” once wrote the seventeen-year-old Martynov, sending his “Air Frigates” on a long journey in search of the spiritual Lukomorye, to which he gave, in fact, his whole life. The poet is no longer alive, but his majestic poetic ships continue their eternal journey...

A. Gorshenin

Dementiev V. Leonid Martynov: poet and time. - M., 1986.

Memories about L. Martynov. Collection. - M., 1989.

Leonid Nikolaevich Martynov(1905-1980) - Russian poet and journalist, translator of poetry. Laureate of the State Prize of the USSR (1974).

Biography

Born on May 9 (22), 1905 in Omsk in the family of Nikolai Ivanovich Martynov, a hydraulic engineer of communications, and the daughter of a military engineer-cantonist, teacher Maria Grigoryevna Zbarskaya. The Siberian family of the Martynovs comes from the "Vladimir peddler-bookman Martyn Loshchilin, who settled in Semipalatinsk."

He made his debut in print in 1921 with notes in the Omsk newspapers Signal, Gudok, and Rabochy Put. The first poems were published in the collection "Futurists", published in the marching printing house of the agitation steamer "III International". He was a member of the futuristic literary and artistic group "Chervona Troika" (1921-1922), which also included V. Ufimtsev, V. Ya. Shebalin and N. A. Mamontov. At the end of 1921, following N. A. Mamontov, he left to enter VKhUTEMAS, but both of them soon returned due to the disorder of life. Becoming a traveling correspondent for the newspaper Sovetskaya Sibir (Novonikolaevsk) in 1924, Martynov traveled all over Western Siberia and Kazakhstan. Participated in geological expeditions. In 1927, the editor of Zvezda, N. S. Tikhonov, published the poem "Correspondent" - the first publication outside Siberia. In 1930, Martynov's first book was published in Moscow - essays on the Irtysh region, Altai and Kazakhstan "Roughage, or Autumn Journey along the Irtysh" (Moscow, "Federation", 1930). In 1932, he handed over to the editors of the "Young Guard" a book "short stories about love and hate during the years of the beginning of socialist perestroika", which was never published and is now considered lost.

In 1932, he was arrested on charges of counter-revolutionary propaganda and sentenced in the case of the so-called "Siberian Brigade" under article 58/10 of the Criminal Code of the RSFSR to exile for three years in the Northern Territory. (Rehabilitated by the USSR Prosecutor's Office on April 17, 1989 posthumously). He spent an administrative exile in Vologda, where he lived from 1932 to 1935. He worked for the local newspaper Krasny Sever, where he met his future wife, Nina Popova. After the exile, the two of them returned to Omsk.

The poet called the publication of "Uvenkay" and "Tobolsk chronicler" in "Siberian fires" by V. Itin in 1936 the beginning of "real literary fame". According to the poet, Vivian Itin played a big role in his life: I would say political, state interests.”

In 1939, literary fame came to Martynov: the book "Poems and Poems" was published (Omsk, 1939). Poems with historical Siberian themes were noticed and appreciated by K. M. Simonov in his review of Three Poems (Literaturnaya Gazeta, July 1939). The following year, a historical essay about Omsk "The Fortress on Om" and the books "Poems" (came out simultaneously in Moscow and Omsk) were published.

In 1942, thanks to the efforts of the writer A. Kalinchenko, he was admitted to the USSR Writers' Union. In 1943, K. M. Simonov offered his place as a front-line correspondent in Krasnaya Zvezda. Martynov returned to Omsk "for things", but was immediately drafted into the army, to the Omsk Infantry School. For health reasons, he was released from military service, and served as a writer - he wrote the history of the school.

The collection "Lukomorye", "slaughtered" by A. A. Fadeev, was published in 1945 by the efforts of the new chairman of the Union of Writers of the USSR N. S. Tikhonov. In February 1946, L. N. Martynov moved to Moscow.

In December 1946, a devastating article by V. M. Inber about the book of poems "Ercinsky Forest" (Omsk, 1946) was published in Literaturnaya Gazeta. After sharp criticism and "studying" in Moscow, Omsk and Novosibirsk, the book's circulation was destroyed, and access to the press was closed for nine years. All this time, the poet wrote "on the table" and earned money by translations.

He translated into Russian poems by English (C. Dibdin, A. Tennyson), Czech (Jan Neruda), Chilean (Pablo Neruda), Hungarian (E. Ady, A. Gidash, D. Iyes, S. Petofi, I. Madach, A. Jozsef), Lithuanian (E. Mezhelaitis), Polish (Y. Kokhanovsky, A. Mickiewicz, Y. Tuwim, Y. Slovatsky, Y. Przybos, A. Vazhik, C. Norwid, K. Galchinsky), French (A Rimbaud, V. Hugo, C. Baudelaire), Italian (S. Quasimodo, A. Severini), Yugoslav (O. Zupancic, M. Krlezh) and other poets. According to L. M., he translated about a hundred thousand lines of poetry. For his translation activities, he was awarded the Silver Cross (1949), the Golden Star (1964) and the Silver Star (1970) orders by the Hungarian government.