Abraham Shlonsky

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Shlonsky, Abraham


Born 1900 in the village of Kriukovo, in what is now Kremenchug Raion, Poltava Oblast, Ukrainian SSR; died May 18, 1973, in Tel Aviv. Israeli poet who wrote in Hebrew.

Shlonsky emigrated to Palestine in 1920. From 1928 to 1933 he published collections under the title Notes, which were extremely popular among the avant-garde political youth. Themes recurring in his works of the 1930’s are the struggle against the desert and praise of the fruitful earth, for example, in Stumbling Blocks (1932) and Poems of Collapse and Appeasement (1938). Also of note is his poem “Stalingrad” (1943). Shlonsky translated the works of A. S. Pushkin and M. A. Sholokhov into Hebrew.

Shlonsky was a member of the World Peace Council.


In Russian translation:
[Stikhi.] In the collection Poety Izrailia. Moscow, 1963.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Though Shalom is at the focus of this paper we should note that he is one amongst several poets including Avraham Shlonsky, Avraham Halfi, and Amir Gilboa to name a few, who were influenced by Hasidism and its mystical tradition.
The great founders of Hebrew literature in the twentieth century--Shaul Tchernichovsky, Avraham Shlonsky, Lea Goldberg, Natan Alterman, Alexander Penn, and Rachel Bluwstein--spoke Russian, and were raised on the Russian classics and influenced by Russian modernism, but they nonetheless chose to write in Hebrew after immigrating to Palestine.
1930) published his famous manifesto "Reflections Upon Nathan Alterman's Poetry."(2) Nathan Alterman (1910-70), next to Avraham Shlonsky (1900-73), was considered the unchallenged dean of modern Hebrew poetry, the august master of spectacularly colorful writing, which consists of complex and equally ramiform metaphors, picturesque, complicated, and cryptic symbolism, sweeping and fastidiously measured metrical patterns, and meticulously beaded rhymes.
Those of the Palestinian period, sometimes called the Urban poets, led by Avraham Shlonsky, found Bialik's work too moralizing, too biblical in its language; their emerging spirit of independence did not admit wearing the heart on one's sleeve.
In her final chapter, Segal examines how Avraham Shlonsky became the quintessential writer in the new accent even though he was one of the later writers to use it (p.