Nelly Sachs, Nobel Prize in Literature 1966

Nelly Sachs (10 December 1891 – 12 May 1970) was a Jewish German poet and playwright whose experiences resulting from the rise of the Nazis in World War II Europe transformed her into a poignant spokeswoman for the grief and yearnings of her fellow Jews. Her best-known play is Eli: Ein Mysterienspiel vom Leiden Israels (1950); other works include the poems "Zeichen im Sand" (1962), "Verzauberung" (1970), and the collections of poetry In den Wohnungen des Todes (1947), Flucht und Verwandlung (1959), Fahrt ins Staublose (1961), and Suche nach Lebenden (1971).

Life and career

Born Leonie Sachs in Schöneberg, Germany in 1891, to a wealthy manufacturer, she was educated at home because of frail health. She showed early signs of talent as a dancer, but her protective parents did not encourage her to pursue a profession. She grew up as a very sheltered, introverted young woman and never married. She pursued an extensive correspondence with, and was friends with, Selma Lagerlöf and Hilde Domin. As the Nazis took power, she became increasingly terrified, at one point losing the ability to speak, as she would remember in verse: "When the great terror came/I fell dumb." Sachs fled with her aged mother to Sweden in 1940. It was her friendship with Lagerlöf that saved their lives: shortly before her own death Lagerlöf intervened with the Swedish royal family to secure their release from Germany. Sachs and her mother escaped on the last flight from Nazi Germany to Sweden, a week before Sachs was scheduled to report to a concentration camp.

Living in a tiny two-room apartment in Stockholm, Sachs cared alone for her mother for many years, and supported their existence by translations between Swedish and German. After her mother's death, Sachs suffered several nervous breakdowns characterized by hallucinations, paranoia, and delusions of persecution by Nazis, and she spent a number of years in a mental institution. She continued to write even while hospitalized. She eventually recovered sufficiently to live on her own, though her mental health would always be fragile. Her worst breakdown was ostensibly precipitated by hearing German speech during a trip to Switzerland to accept a literary prize. However, she maintained a forgiving attitude toward a younger generation of Germans, and corresponded with many German-speaking writers of the postwar period, including Hans Magnus Enzensberger and Ingeborg Bachmann.

In the context of the Shoah, her deep friendship with "brother" poet Paul Celan is often noted today. Their bond was described in one of Celan's most famous poems, "Zürich, Zum Storchen" ("Zürich, The Stork Inn").[2] Sachs and Celan shared their concern with the Holocaust and the fate of the Jews throughout history, their interest in Jewish and Christian mysticism, and their literary models; their imagery was often remarkably similar though developed independently. Their friendship had the unfortunate side effect of intensifying each other's paranoia. Celan also suffered from fears of persecution (he blamed Claire Goll's accusations of plagiarism on antisemitism) and frustration over the reception of his work. When Sachs met Celan she was embroiled in a long dispute with Finnish-Jewish composer Moses Pergament over his musical adaptation of her stage play Eli: Ein Mysterienspiel vom Leiden Israels. Her relationship to Pergament became entangled with her paranoia, with Sachs repeatedly accusing Pergament of not believing her delusions of persecution. In Celan, she found someone who appeared to believe her. Sachs was first institutionalized shortly after her only visit to Celan.

Sachs' poetry is intensely lyrical and reflects some influence by German Romanticism, especially in her early work. The poetry she wrote as a young woman in Berlin is more inspired by Christianity than Judaism and makes use of traditional Romantic imagery and themes. Much of it concerns an unhappy love affair Sachs suffered in her teens, with a non-Jewish man who would eventually be killed in a concentration camp. After Sachs learned of her only love interest's death, she bound up his fate with that of her people and wrote many love lyrics ending not only in the beloved's death, but in the catastrophe of the Holocaust. Sachs herself mourns no longer as a jilted lover but as a personification of the Jewish people in their vexed relationship to history and God. Sachs' fusion of grief with subtly romantic elements is in keeping with the imagery of the kabbalah, where the Shekhinah represents God's presence on earth and mourns for the separation of God from His people in their suffering. Thus Sachs' Romanticism allowed her to develop self-consciously from a German to a Jewish writer, with a corresponding change in her language: still flowery and conventional in some of her first poetry on the Holocaust, it becomes ever more compressed and surreal, returning to a series of the same images and tropes (dust, stars, breath, stones and jewels, blood, dancers, fish suffering out of water, madness, and the ever-frustrated love) in ways that are sometimes comprehensible only to her readers, but always moving and disturbing. Though Sachs does not resemble many authors, she appears to have been influenced by Gertrud Kolmar and Else Lasker-Schüler in addition to Paul Celan.

In 1961 she became the inaugural winner of the Nelly Sachs Prize, a literary prize awarded biennially by the German city of Dortmund, and named in her honour. When, with Shmuel Yosef Agnon, she was awarded the 1966 Nobel Prize in Literature, she observed that Agnon represented Israel whereas "I represent the tragedy of the Jewish people."

Following her death from intestinal cancer in 1970, Nelly Sachs was interred in the Norra begravningsplatsen in Stockholm.

A memorial plaque commemorates her birthplace, Maaßenstraße 12, in Schöneberg, Berlin; where there is also a park, in Dennewitzstraße, named after her.

Google Doodle December 10, 2018 https://www.google.com/doodles/nelly-sachs-127th-birthday

נלי זַקְ"שׂ (גרמנית: Nelly Sachs, נהגה "זָקְס"; 10 בדצמבר 1891, ברלין – 12 במאי 1970, סטוקהולם) הייתה משוררת ומחזאית גרמנייה-יהודייה, כלת פרס נובל לספרות בשנת 1966.[1]

תוכן עניינים 1 קורות חיים 2 מיצירותיה שתורגמו לעברית 3 לקריאה נוספת 4 קישורים חיצוניים 5 הערות שוליים קורות חיים נלי ליאוני זק"ש (ראשי תיבות של "זרע קדושים") נולדה בברלין בירת גרמניה למשפחה יהודית מן המעמד הבינוני, אביה היה תעשיין זעיר. היא הייתה בת יחידה להוריה וזכתה לחינוך מעולה. שיריה הראשונים נכתבו בעת שהייתה בת 17, והחלו להתפרסם בעיתונים כשהייתה בת עשרים. היו אלה שירים שמרניים ורומנטיים, ולימים שינתה לחלוטין את נושאי שירתה ואת צורתה.

בשנת 1940 הייתה מועמדת לעבודות כפייה אצל הנאצים, ורק התערבותה של הסופרת השוודית המפורסמת סלמה לגרלף הצילה את חייה. לגרלף עירבה בהצלתה את משפחת המלוכה השוודית, ונלי זק"ש ואמה הזקנה חולצו מגרמניה והובאו לסטוקהולם. חייה בסטוקהולם לא היו קלים, היא התגוררה עם אמה בדירה קטנה והתפרנסה מעבודות תרגום.

שירתה של נלי זק"ש השתנתה לחלוטין עם השואה, והיא הפכה לשירת קינה על העם היהודי שהושמד במחנות ההשמדה. גם מחזותיה עסקו בנושא הזה, מהיבטים שונים. עם תרגום יצירתה לאנגלית, בראשית שנות ה-60 של המאה העשרים, התפרסמה ברחבי העולם.

למרות הרקע האישי שלה, פנתה נלי זק"ש ב-27 בינואר 1962 לראש ממשלת ישראל דוד בן-גוריון בבקשה לא להוציא להורג את אדולף אייכמן. הנימוק לטענתה היה שגם בסדום הגרמני היו צדיקים בודדים ושהיא עצמה ניצלה בזכות בודדים כאלה.[2]

נלי זק"ש זכתה בפרס המו"לים הגרמני היוקרתי בשנת 1965. בטקס קבלת הפרס היא אמרה דברים בזכות ההתפייסות עם הגרמנים, והצהירה, שחרף הנוראות שעברה היא ואמה, הריהי מאמינה באפשרות של קיום גרמני אחר. בשנת 1966, כשהייתה בת 75 שנים, זכתה בפרס נובל לספרות בצוותא עם ש"י עגנון. היה זה אחד המקרים הבודדים שבו התחלקו שני זוכים בפרס הספרותי החשוב ביותר בעולם. היא מצוטטת כמי שאמרה שבעוד ש"י עגנון מייצג את מדינת ישראל, היא מייצגת את הטרגדיה של העם היהודי.

מיצירתה של נלי זק"ש תורגמו לעברית שיריה והמחזה הידוע ביותר שלה, "אלי".

פרס נלי זק"ש (גרמנית: Nelly Sachs Preis) (אנ') מחולק מדי שנתיים על ידי העיר דורטמונד לסופרים שיצירתם מקדמת את ההבנה בין בני האדם.

מיצירותיה שתורגמו לעברית שירים (נדפס: נלי זקס), עברית: מאיר איילי, ירושלים, 1967. אלגיות על העקבות בחול, נלי זק"ש, תרגום מגרמנית ואחרית-דבר: ידידיה פלס, הוצאת הקיבוץ המאוחד, 1987. אלי: מחזה מסתורין על ייסורי ישראל ומבחר שירים, תרגם: ד"ר משה שפיצר, ירושלים: ספרי תרשיש, 1966. מדומה: מבחר שירים, נלי זק"ש, תרגם מגרמנית והוסיף אחרית דבר: ידידיה פלס, הקיבוץ המאוחד, 1981. התכתבות - פאול צלאן/ נלי זק"ש, תרגמה מגרמנית והוסיפה פתח דבר : דינה פון-שוורצה, קשב לשירה, 2014. שיריה של נלי זק"ש תורגמו מגרמנית ללשונות רבות, וחשוב לציין את התרגום ליידיש:

געקליבענע לידער, אויך בילדער פון דער דראמאטישער פאעמע עלי, נעלי זאקס, יידיש: מאיר שטיקר, ניו יארק, 1967. לקריאה נוספת ידידיה פלס, 'המיסטיקה בשירת נלי זק"ש', שדמות, ע"ט, 1981. יוסי גמזו, 'להאזין לקול הדם (על נלי זק"ש)', משא, מוסף דבר, דצמבר 1976. י. הורביץ, 'עם הסתלקותה של נלי זק"ש', מאזנים, ל"א, 1970. (המאמר זמין לצפייה

במאגר JSTOR לאחר הרשמה) מאיר איילי, 'על נלי זק"ש ועל שירתה', כרביבים, 1997. טוביה פרשל, 'פרשת הצלתה של נלי זק"ש מן הגיהנום הנאצי', הדואר, מ"ו, תשכ"ז-1967. 'נלי זק"ש בעברית: ביבליוגרפיה של תרגומים מיצירתה ולמאמרים וכתבות אודותיה', אסף וערך: ידידיה פלס, יד לקורא, כ"א, תשמ"ה 1985. יד לקורא; כתב עת לספרנות, לביבליוגרפיה ולארכיונאות. ירושלים. קישורים חיצוניים מיזמי קרן ויקימדיה ויקיציטוט ציטוטים בוויקיציטוט: נלי זק"ש ויקישיתוף תמונות ומדיה בוויקישיתוף: נלי זק"ש נלי זק"ש , באתר פרס נובל (באנגלית) נלי זק”ש , אנשי סגולה - יהודים זוכי פרס נובל, באתר בית התפוצות .

גיטה אבינור, "נלי זק"ש - סופרת סבלות ישראל ", בספרה הפורטת על הפסנתר הכחול, מפעל סופרי חיפה, 1974, עמ' 87–90 יידישאי בשטוקהולם , באתר ynet, 17 באפריל 2008 נלי זק"ש קוראת שלוש מיצירותיה , מתוך אתר הספרייה הלאומית הסבר על ה"דודל"

(שרבוט גוגל) שהכינה גוגל לציון יום הולדתה ה-127 של זק"ש (באנגלית) נלי זק"ש , באתר "Find a Grave" (באנגלית) https://he.wikipedia.org/wiki/%D7%A0%D7%9C%D7%99_%D7%96%D7%A7%22%D7%A9

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Nelly Sachs (10 December 1891 – 12 May 1970) was a Jewish German poet and playwright whose experiences resulting from the rise of the Nazis in World War II Europe transformed her into a poignant spokeswoman for the grief and yearnings of her fellow Jews. Her best-known play is Eli: Ein Mysterienspiel vom Leiden Israels (1950); other works include the poems "Zeichen im Sand" (1962), "Verzauberung" (1970), and the collections of poetry In den Wohnungen des Todes (1947), Flucht und Verwandlung (1959), Fahrt ins Staublose (1961), and Suche nach Lebenden (1971).

Life and career

Born Leonie Sachs in Schöneberg, Germany in 1891, to a wealthy manufacturer, she was educated at home because of frail health. She showed early signs of talent as a dancer, but her protective parents did not encourage her to pursue a profession. She grew up as a very sheltered, introverted young woman and never married. She pursued an extensive correspondence with, and was friends with, Selma Lagerlöf and Hilde Domin. As the Nazis took power, she became increasingly terrified, at one point losing the ability to speak, as she would remember in verse: "When the great terror came/I fell dumb." Sachs fled with her aged mother to Sweden in 1940. It was her friendship with Lagerlöf that saved their lives: shortly before her own death Lagerlöf intervened with the Swedish royal family to secure their release from Germany. Sachs and her mother escaped on the last flight from Nazi Germany to Sweden, a week before Sachs was scheduled to report to a concentration camp.

Living in a tiny two-room apartment in Stockholm, Sachs cared alone for her mother for many years, and supported their existence by translations between Swedish and German. After her mother's death, Sachs suffered several nervous breakdowns characterized by hallucinations, paranoia, and delusions of persecution by Nazis, and she spent a number of years in a mental institution. She continued to write even while hospitalized. She eventually recovered sufficiently to live on her own, though her mental health would always be fragile. Her worst breakdown was ostensibly precipitated by hearing German speech during a trip to Switzerland to accept a literary prize. However, she maintained a forgiving attitude toward a younger generation of Germans, and corresponded with many German-speaking writers of the postwar period, including Hans Magnus Enzensberger and Ingeborg Bachmann.

In the context of the Shoah, her deep friendship with "brother" poet Paul Celan is often noted today. Their bond was described in one of Celan's most famous poems, "Zürich, Zum Storchen" ("Zürich, The Stork Inn").[2] Sachs and Celan shared their concern with the Holocaust and the fate of the Jews throughout history, their interest in Jewish and Christian mysticism, and their literary models; their imagery was often remarkably similar though developed independently. Their friendship had the unfortunate side effect of intensifying each other's paranoia. Celan also suffered from fears of persecution (he blamed Claire Goll's accusations of plagiarism on antisemitism) and frustration over the reception of his work. When Sachs met Celan she was embroiled in a long dispute with Finnish-Jewish composer Moses Pergament over his musical adaptation of her stage play Eli: Ein Mysterienspiel vom Leiden Israels. Her relationship to Pergament became entangled with her paranoia, with Sachs repeatedly accusing Pergament of not believing her delusions of persecution. In Celan, she found someone who appeared to believe her. Sachs was first institutionalized shortly after her only visit to Celan.

Sachs' poetry is intensely lyrical and reflects some influence by German Romanticism, especially in her early work. The poetry she wrote as a young woman in Berlin is more inspired by Christianity than Judaism and makes use of traditional Romantic imagery and themes. Much of it concerns an unhappy love affair Sachs suffered in her teens, with a non-Jewish man who would eventually be killed in a concentration camp. After Sachs learned of her only love interest's death, she bound up his fate with that of her people and wrote many love lyrics ending not only in the beloved's death, but in the catastrophe of the Holocaust. Sachs herself mourns no longer as a jilted lover but as a personification of the Jewish people in their vexed relationship to history and God. Sachs' fusion of grief with subtly romantic elements is in keeping with the imagery of the kabbalah, where the Shekhinah represents God's presence on earth and mourns for the separation of God from His people in their suffering. Thus Sachs' Romanticism allowed her to develop self-consciously from a German to a Jewish writer, with a corresponding change in her language: still flowery and conventional in some of her first poetry on the Holocaust, it becomes ever more compressed and surreal, returning to a series of the same images and tropes (dust, stars, breath, stones and jewels, blood, dancers, fish suffering out of water, madness, and the ever-frustrated love) in ways that are sometimes comprehensible only to her readers, but always moving and disturbing. Though Sachs does not resemble many authors, she appears to have been influenced by Gertrud Kolmar and Else Lasker-Schüler in addition to Paul Celan.

In 1961 she became the inaugural winner of the Nelly Sachs Prize, a literary prize awarded biennially by the German city of Dortmund, and named in her honour. When, with Shmuel Yosef Agnon, she was awarded the 1966 Nobel Prize in Literature, she observed that Agnon represented Israel whereas "I represent the tragedy of the Jewish people."

Following her death from intestinal cancer in 1970, Nelly Sachs was interred in the Norra begravningsplatsen in Stockholm.

A memorial plaque commemorates her birthplace, Maaßenstraße 12, in Schöneberg, Berlin; where there is also a park, in Dennewitzstraße, named after her.

Google Doodle December 10, 2018 https://www.google.com/doodles/nelly-sachs-127th-birthday