The meaning of fefer itzik in the great Soviet encyclopedia, bse. In Russian

Jewish poet Itzik Fefer (Isaac Solomonovich Fefer) was born in the town of Shpola, now the Cherkasy region, in the family of a teacher. He was educated at home, from the age of 12 he worked as a typesetter in a printing house, in 1917 he joined the Bund, and in 1919 he joined the Communist Party of the Soviet Union, after which he voluntarily left for the Red Army. After the capture of Kiev by Denikin's troops, he participated in the Bolshevik underground, was arrested and accidentally escaped death. With the establishment of Soviet power, he was in party and Soviet work. He began to write poetry in his youth. He made his debut in 1919 in the Kiev newspaper Komunisische von (Kommunisticheskoe znamya), published in the newspapers Yugnt, Naye Zeit, Folks Zeitung, Stern, Ukraine, Proletarishe von, etc. He became one of the leaders of the Kiev literary group "Vidervuks" ("Porosl"), whose publishing house in 1922 published his first collection, "Spener" ("Slivers"). Love lyrics and epic motives alternated in Fefer's poems with "Komsomol" journalism. With the release of the collections "Vagn zikh un azoine, vi them" ("About myself and about people like me", Kiev, 1924), "Prosté trit" ("Usual steps", Kiev, 1925), "A stein tsu a stein "(" Stone to Stone ", Kiev, 1925) Fefer's reputation as a poet-tribune, who does not lose touch with roots and folklore, was established (" I cannot forget my native place, / Through the smoke it flickers again in my eyes ... " cycle "Flowers among the garbage", 1925). In the poems "Yosl Shinder" (1925), "Yatn" ("Guys", 1925), "Eles Toit" ("The Death of Eli", 1928), the main themes are the civil war, the romance of the struggle for a new life, belief in the beneficialness of revolutionary changes for Russian Jewry. In 1926 Fefer became a graduate student of the Department of Jewish Culture at the Ukrainian Academy of Sciences, opened in the same year. A book based on the materials of his research "Frages fun Sholem-Aleihams shafung" ("Questions of the creativity of Sholem Aleichem") was published in 1939. In 1927 Fefer was one of the initiators of the All-Ukrainian Conference of Jewish Proletarian Writers. Stormy social activities of the poet in the 1920s and 1930s. was not only in instilling "communist ideology" among his fellow writers (during interrogations in 1952 he assured investigators that he "fought against Trotskyism in Soviet Jewish literature"), but also in a stubborn struggle (at first successful) for the preservation and development of Jewish cultural institutions in Ukraine. In 1939, Fefer was awarded the Order of the Badge of Honor, and a year later - the Order of Lenin. 1930-40s - the heyday of his poetic creativity. Collections of poems and poems by Fefer, mainly devoted to the construction of socialism: "Plastn" ("Plasts", Kharkov, 1932; 2nd ed. 1934), "Zvishn himl un aiz" ("Between the sky and ice", Kharkov, 1934), "Yatn" (Kharkov, 1934), "Labm zol dos lebm" ("Long live life", Kharkov, 1934), " Kraft "(" Power ", Kiev, 1937; 2nd ed.1941)," Groise grenetsn "(" Big borders ", 1939)," In a mazldiker sho "(" Good hour ", Kiev, 1941). Books of Fefer's selected poems in Yiddish were published in 1925, 1928, 1932-34, 1938 and 1940, as well as many times in the 1930-60s. in translations into the languages of the peoples of the USSR. Poems for children and translations of verses by Ukrainian poets into Yiddish took a special place in the work of Itsik Fefer. Fefer is the author of the plays "Koymenkerer" ("Chimney sweep", 1926; staged at the Kiev GOSET in 1927), "Shlek" ("Troubles", 1930, together with E. Fininberg), "Di zun fargate nisht" ("The Sun does not enter ", 1947, staged in the Moscow GOSET). Since the beginning of World War II, Itzik Fefer became a member (since 1945 - secretary) of the Jewish Anti-Fascist Committee, since April 1942 - deputy editor of the Einikite (Unity) newspaper published by the JAC. In the summer of 1943, on behalf of the Soviet government, together with S. Mikhoels, he toured the United States, Canada, Mexico and England to raise funds for the Red Army, and told the New York audience about the genocide of Jews. During the war, I. Fefer's books "Milkhome-balades" ("Ballads about the War", Moscow, 1943), "Roytarmeish" ("Red Army style", New York, 1943), "Heimland" ("Homeland", NY, 1944, with drawings by M. Chagall), the poem "Shotns Fun Varshever Geto" ("Shadows of the Warsaw Ghetto", NY, 1945, 2nd ed. 1963). In 1946-48. Fefer lived in Moscow, conducted social and journalistic work in the newspaper "Einikite" and the anthology "Heimland". In December 1948, together with other figures of Jewish culture, he was arrested and held in the internal prison of the MGB in Lubyanka. Preparing the rout of Jewish culture in the USSR, even before the arrest, the state security organs persuaded Fefer (and not only him alone) to self-incriminate and give false testimony against members of the JAC. Fefer (he was one of the first to be arrested) was accused of "extreme nationalism", expressed, among other things, in mentioning in verses the names of Samson, Bar-Kokhba, Rabbi Akiva, King Solomon and connections with the Joint and American intelligence. At the trial (8.05-18.07.1952) Fefer first admitted his guilt and testified against the rest of the defendants, but at the last stage he recanted his testimony. This is what Itzik Fefer said at the trial: "Investigator Likhachev told me:" If we arrested you, we will find a crime ... We will knock out of you everything that we need. "And so it turned out. I am not a criminal, but being greatly intimidated, I gave fictitious testimony against myself and others. " 1952-08-12 ) (51 years old)

Biography

From April 1942 - deputy editor of the newspaper "Einikite" ("Edinenie") published by the EAK. In the summer of 1943, on behalf of the Soviet leadership, together with S. Mikhoels, he traveled to the USA, Canada, Mexico and England in order to raise funds for the Red Army. In February 1944, together with S. Mikhoels and S. Epstein, he signed a letter to JV Stalin with a request to organize Jewish autonomy in Crimea.

He worked closely with the NKVD organs, had secret meetings with LP Beria; during the war she was supervised by the deputy head of the counterintelligence department of the NKGB L. F. Raikhman. Mikhoels and the members of the EAK presidium guessed (or knew) about Fefer's connections with the state security bodies, but did not hide anything from him, believing that all the activities of the committee were aimed at the good of the state.

He was posthumously rehabilitated in November 1955. A cenotaph was installed at the Moscow Nikolo-Arkhangelsk cemetery of I. Feferu.

Daughter - Fefer-Kalish Dora Isaakovna, born in 1924.

Bibliography

In Russian

Collection of poems / Preface. M. Ravich-Cherkassky. - M.-L .: OGIZ-GIKHL, 1931 .-- 108 p.
Selected Poems / Per. from Heb. - M .: Goslitizdat, 1935 .-- 154, p.: 1 p. announced
Poems and poems / Per. from Heb.; Portr. Z. Tolkacheva. - M .: Goslitizdat, 1938 .-- 272 p.
Poems / Per. from Heb. - Kiev: Ukrgosnatsmenizdat, 1939 .-- 47 p.
Treasure: Poems / Per. from Heb.; [Rice. G. Kravtsova]. - M .: Goslitizdat, 1939 .-- 136 p .: ill.
Berlin Night: [Poems]. - [Ufa]: SSP of Ukraine, 1942. - 22, p.
War Song: [Poems]. - [Ufa]: SSP of Ukraine, 1942. - 28 p.
War and People: [Poems]. - Ufa: Bashgosizdat, 1942 .-- 32 p.
Two Worlds: [Poems]. - Kuibyshev: OblGIZ, 1943 .-- 38, p.
Favorites / Per. from Heb.; Ed. and entered. Art. P. Antokolsky. - M .: Sov. writer, 1957 .-- 393 p.: 1 p. portr.
Poems and poems / Per. from Heb. - M .: Goslitizdat, 1958 .-- 319 p.: 1 p. portr.
Friendship: Poems and Tales / Per. from Heb.; [Ill .: V. Lazarevskaya]. - M .: Detgiz, 1958 .-- 80 p .: ill.
Poems / Per. from Heb.; [Intro. Art. P. Balashov]. - M .: Hood. Lit., 1969 .-- 287 p.: 1 p. portr.

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Behind them with a smile, with an ear bent over Julie's mouth, could be seen the smoothly combed, beautiful head of Boris. He looked at the Rostovs from under his brows and said something to his bride with a smile.
"They talk about us, about me with him!" thought Natasha. “And he surely soothes his bride's jealousy of me: they needlessly worry! If only they knew how I don't care about any of them. "
Behind was sitting in a green current, with a devoted to the will of God and a happy, festive face, Anna Mikhailovna. In their box there was that atmosphere - the groom and the bride, whom Natasha knew and loved so much. She turned away and suddenly everything that was humiliating in her morning visit came to her mind.
“What right does he have not to want to accept me into his kinship? Ah, it's better not to think about it, not to think about it before his arrival! " she said to herself and began to look around the familiar and unfamiliar faces in the stalls. In front of the parterre, in the very middle, with his back to the ramp, stood Dolokhov with a huge, combed up shock of curly hair, in a Persian suit. He stood in the very sight of the theater, knowing that he attracted the attention of the entire hall, as freely as if he were standing in his room. The most brilliant youth of Moscow stood around him, and he apparently took the lead among them.
Count Ilya Andreevich, laughing, pushed the blushing Sonya, pointing to her former adorer.
- Did you find out? - he asked. - And where did he come from, - the count turned to Shinshin, - he disappeared somewhere?
- Lost, - answered Shinshin. - I was in the Caucasus, and there I fled, and, they say, some sovereign prince was a minister in Persia, he killed Shakhov's brother there: well, all the Moscow ladies are going crazy! Dolochoff le Persan, [Persianin Dolokhov,] and it's over. We now have no word without Dolokhov: they swear to him, they call him like a sterlet, - said Shinshin. - Dolokhov, yes Kuragin Anatol - all our ladies were driven crazy.
A tall, beautiful lady with a huge braid and very bare, white, full shoulders and a neck, on which there was a double string of large pearls, entered the neighboring benoir, and sat down for a long time, rustling with her thick silk dress.
Natasha involuntarily looked into this neck, shoulders, pearls, hairdo and admired the beauty of the shoulders and pearls. While Natasha was peering into her for the second time, the lady looked round and, meeting her eyes with Count Ilya Andreich, nodded her head to him and smiled. It was Countess Bezukhova, Pierre's wife. Ilya Andreevich, who knew everyone in the world, bent over and spoke to her.
“Have you come long ago, Countess?” He said. - I’ll come, I’ll come, kiss the handle. But I came here on business and brought my girls with me. They say that Semyonova plays incomparably, - said Ilya Andreevich. - Count Pyotr Kirillovich never forgot us. He's here?
“Yes, he wanted to come in,” Helene said and looked attentively at Natasha.
Count Ilya Andreich again sat down in his place.
- Isn't it good? He said to Natasha in a whisper.
- Miracle! - said Natasha, - you can fall in love! At this time, the last chords of the overture sounded and the bandmaster's wand rattled. In the stalls, belated men marched into their seats and the curtain went up.
As soon as the curtain rose, everything fell silent in the boxes and the stalls, and all the men, old and young, in uniforms and tailcoats, all women in jewels on their naked bodies, with eager curiosity turned their attention to the stage. Natasha also began to watch.

On the stage there were even boards in the middle, on the sides there were painted paintings depicting trees, behind there was a canvas stretched on the boards. In the middle of the stage sat girls in red bodices and white skirts. One, very fat, in a white silk dress, sat apart on a low bench, to which a green cardboard was glued behind. They all sang something. When they finished their song, the girl in white approached the prompter's booth, and a man in silk, tight-fitting trousers with thick legs, with a feather and a dagger approached her and began to sing and spread his arms.
A man in covered pantaloons sang one, then she sang. Then both fell silent, music began to play, and the man began to touch the hand of the girl in the white dress with his fingers, obviously waiting for the beat again to begin his part with her. They sang together, and everyone in the theater began to clap and shout, and the man and woman on the stage, who portrayed lovers, began to bow, smiling and spreading their arms.
After the village and in the serious mood in which Natasha was, all this was wild and surprising to her. She could not follow the progress of the opera, could not even hear the music: she saw only painted cardboard and strangely dressed men and women, strangely moving in the bright light, talking and singing; she knew what all this was supposed to represent, but it was all so pretentiously false and unnatural that she felt now ashamed of the actors, now funny at them. She looked around her, at the faces of the audience, seeking in them the same feeling of ridicule and bewilderment that was in her; but all the faces were attentive to what was happening on the stage and expressed a feigned, as it seemed to Natasha, admiration. "It must be so necessary!" thought Natasha. She alternately looked back at these rows of anointed heads in the stalls, then at the naked women in the boxes, especially at her neighbor Helene, who, completely undressed, with a quiet and calm smile, without taking her eyes off, looked at the stage, feeling the bright light poured throughout the hall and warm, warm air from the crowd. Little by little, Natasha began to fall into a state of intoxication that she had not experienced for a long time. She did not remember who she was or where she was or what was going on in front of her. She looked and thought, and the strangest thoughts suddenly, without connection, flashed in her head. Now she had the idea to jump on the ramp and sing the aria that the actress was singing, then she wanted to hook an old man who was sitting not far from her with a fan, then bend over to Helen and tickle her.
In one of the minutes, when everything calmed down on the stage, waiting for the beginning of the aria, the entrance door of the parterre creaked, on the other side where the Rostovs' box was, and the steps of a belated man sounded. "Here he is Kuragin!" whispered Shinshin. Countess Bezukhova, smiling, turned to the newcomer. Natasha looked in the direction of Countess Bezukhova's eyes and saw an unusually handsome adjutant, with a self-confident and at the same time courteous air, approaching their bed. It was Anatol Kuragin, whom she had long seen and noticed at the St. Petersburg ball. He was now in an adjutant's uniform with one epaulette and an excellence. He walked with a restrained, valiant gait, which would have been ridiculous if he had not been so handsome and if there had not been such an expression of good-natured contentment and gaiety on his beautiful face. In spite of the fact that the action was going on, he, slowly, slightly rattling with spurs and saber, smoothly and high carrying his perfumed beautiful head, walked along the carpet of the corridor. Glancing at Natasha, he went up to his sister, put his hand in a doused glove on the edge of her box, shook her head and bending over asked something, pointing at Natasha.

FEFER ITZIK

Itzik (Isaac Solomonovich), Jewish Soviet poet. Born in the town of Shpola, now in the Cherkasy region, a member of the CPSU since 1919. In the same year he voluntarily left for the Red Army. Member of the Great Patriotic War 1941v45. Published since 1919. In the collections of lyric poems "Slivers" (1922), "About myself and about people like me" (1924), in the poems "Iosl Shinder", "Guys" (both v 1925), "Death of Ilya" ( 1928) the main theme is the civil war. Themes of building socialism are embodied in the poems "Stone to Stone" (1925), "Layers" (1932), "Big Borders" (1939). Author of the plays "Chimney Sweep" (1926), "The Sun Does Not Set" (1947).

Cit .: Leader, balades, poems. [Preface G. Remenik], M., 1967; in Russian per. v Poems and poems, M., 1958; Poems, M., 1969.

Lit .: Dobrushin I., Fefer der dichter, in the book: In Iberboi, M., 1932; Remenik G., Der dichter funsig, "Sovietish gameland", 1975, | nine.

Great Soviet Encyclopedia, TSB. 2012

Biography

He was posthumously rehabilitated in November 1955. A cenotaph was installed at the Moscow Nikolo-Arkhangelsk cemetery of I. Feferu.

Daughter - Fefer-Kalish Dora Isaakovna, born in 1924.

Bibliography

In Russian

Collection of poems / Preface. M. Ravich-Cherkassky. - M.-L .: OGIZ-GIKHL, 1931 .-- 108 p.
Selected Poems / Per. from Heb. - M .: Goslitizdat, 1935 .-- 154, p.: 1 p. announced
Poems and poems / Per. from Heb.; Portr. Z. Tolkacheva. - M .: Goslitizdat, 1938 .-- 272 p.
Poems / Per. from Heb. - Kiev: Ukrgosnatsmenizdat, 1939 .-- 47 p.
Treasure: Poems / Per. from Heb.; [Rice. G. Kravtsova]. - M .: Goslitizdat, 1939 .-- 136 p .: ill.
Berlin Night: [Poems]. - [Ufa]: SSP of Ukraine, 1942. - 22, p.
War Song: [Poems]. - [Ufa]: SSP of Ukraine, 1942. - 28 p.
War and People: [Poems]. - Ufa: Bashgosizdat, 1942 .-- 32 p.
Two Worlds: [Poems]. - Kuibyshev: OblGIZ, 1943 .-- 38, p.
Favorites / Per. from Heb.; Ed. and entered. Art. P. Antokolsky. - M .: Sov. writer, 1957 .-- 393 p.: 1 p. portr.
Poems and poems / Per. from Heb. - M .: Goslitizdat, 1958 .-- 319 p.: 1 p. portr.
Friendship: Poems and Tales / Per. from Heb.; [Ill .: V. Lazarevskaya]. - M .: Detgiz, 1958 .-- 80 p .: ill.
Poems / Per. from Heb.; [Intro. Art. P. Balashov]. - M .: Hood. Lit., 1969 .-- 287 p.: 1 p. portr.

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An excerpt characterizing Fefer, Itzik

- No ... I only remember the light. And then a very bright meadow, bathed in the sun ... But it was no longer the Earth - it was something wonderful and completely transparent ... This does not happen on Earth. But then everything disappeared, and I "woke up" already here and now.
- What if I try to "look" through you? - suddenly came into my head a completely wild thought.
- How - through me? - Arno was surprised.
- Oh, but that's right! - Stella immediately exclaimed. - How I did not think ?!
- Well, sometimes, as you can see, something comes to my mind ... - I laughed. - It's not always just for you to invent!
I tried to "get involved" in his thoughts - nothing happened ... I tried together with him to "remember" the moment when he "left" ...
- Oh, what a horror! - Stella squeaked. - Look, this is when they captured him !!!
My breathing stopped ... The picture we saw was really not a pleasant one! This was the moment when Arno had just died, and his essence began to rise up the blue channel. And right behind him ... to the same channel, three completely nightmarish creatures crept up! .. Two of them were probably lower astral terrestrial entities, but the third one clearly seemed to be some other, very scary and alien, clearly not terrestrial ... And all these creatures very purposefully chased the man, apparently trying to get him for some reason ... , unearthly peace, and, greedily absorbing this peace, rested in his soul, forgetting for a moment the wild earthly pain that destroyed his heart, "thanks" to which he found himself today in this transparent, unfamiliar world ...
At the end of the canal, already at the very entrance to the "floor", two monsters with lightning speed darted after Arno into the same canal and unexpectedly merged into one, and then this "one" quickly flowed into the main, the most disgusting, which was probably the most powerful of them. And he attacked ... Rather, he suddenly became completely flat, "spread" almost to a transparent haze, and "enveloping" the unsuspecting Arno, completely swaddled his essence, depriving him of his former "I" and, in general, any "presence" ... And then, laughing terribly, he immediately dragged the already captured essence of poor Arno (the beauty of the approaching upper "floor" just ripening) straight into the lower astral ...
- I don't understand ... - Stella whispered. - How did they capture him, does he seem so strong? .. Well, let's see what happened even earlier?
We again tried to look through the memory of our new acquaintance ... and immediately understood why he was such an easy target for capture ...
In terms of clothing and surroundings, it looked as if it had happened about a hundred years ago. He was standing in the middle of a huge room, where two female bodies were lying on the floor, completely naked ... Or rather, it was a woman and a girl, who could be fifteen years old at most. Both bodies were terribly beaten, and apparently brutally raped before death. Poor Arno "had no face" ... He stood like a dead man, not moving, and perhaps not even understanding where he was at that moment, as the shock was too severe. If we understood correctly, these were his wife and daughter, over whom someone very brutally abused ... Although, to say "brutally" would be wrong, because no animal will do what it is sometimes capable of human...
Suddenly Arno screamed like a wounded animal and fell to the ground next to the terribly disfigured body of his wife (?) ... Emotions raged in him, as during a storm, wild whirlwinds - anger replaced despair, rage covered melancholy, after growing into inhuman pain, from which there was no escape ... He rolled screaming on the floor, finding no way out for his grief ... until finally, to our horror, he completely fell silent, no longer moving ...
And of course - having discovered such a stormy emotional "flurry", and having died with it, he became at that moment an ideal "target" for capture by any, even the weakest "black" creatures, not to mention those who later so stubbornly chased behind him, in order to use his powerful energy body as a simple energy "suit" ... to perform after, with his help, his own terrible, "black" deeds ...
“I don’t want to watch it anymore ...” Stella said in a whisper. “I don’t want to see horror anymore ... Is it human? Well, tell me !!! Is that right ?! We are people !!!
Stella had a real hysteria, which was so unexpected that at first I was completely at a loss, not finding what to say. Stella was very indignant and even a little angry, which, in this situation, was probably perfectly acceptable and understandable. For others. But it was so, again, not like her, that I just now finally realized how painful and deeply all this endless earthly Evil wounded her kind, affectionate heart, and how much she was probably tired of constantly carrying all this human dirt and cruelty on my fragile, still very childish, shoulders ... I really wanted to hug this sweet, persistent and so sad now, little man! But I knew it would upset her even more. And so, trying to keep calm, so as not to touch her already too "disheveled" feelings, she tried as best she could to calm her down.
- But there is good, not only bad! .. Just look around - and your grandmother? .. And the Luminary? .. There Maria generally lived only for others! And how many of them! .. There are a lot of them! You are just very tired and very sad because we have lost good friends. So everything seems to be in "black colors" ... And tomorrow there will be a new day, and you will become yourself again, I promise you! And also, if you want, we will not go to this "floor" anymore? Want?..
- Is the reason in the "floor"? .. - Stella asked bitterly. - Because of this, nothing will change, whether we will come here or not ... It's just life on earth. She's evil ... I don't want to be here anymore ...
I was very scared if Stella was thinking of leaving me and leaving me forever ?! But it was so unlike her! .. In any case, it was not at all the Stella, whom I knew so well ... And I really wanted to believe that her exuberant love of life and bright joyful character “will be ground to dust »All today's bitterness and anger, and very soon she will again become the same sunny Stella that she was so recently ...

(Isaac Solomonovich) (10.9.1900–12.8.1952), poet. In 1917-19 the members. Bund. In 1919 he joined the RCP (b) and the RKKA. In his poems, DOS. paid attention to the romance of the struggle for a new life, the heroics of Grazhd. war. F.'s first book of poems was published in Kiev - Schpener ("Slivers"; 1922); from the very first works he gravitated towards "political lyrics". He wrote in Yiddish. Then came the books Wegen sich un asoine wi ich ("About myself and about the same as I"; 1924), A steinzu a schtein ("Stone to stone"; 1925), Proste teid ("Simple words"; 1925), Bliendige Misten (Blooming Garbage; 1926), Gefundene funken (Sparks Found; 1928), Geweten (Competition; 1930), Plakaten of bronze (Posters on bronze; 1932), Kraft (Strength; 1937) and others. He glorified the “revival of the Sov. Jewish townships ”, social. p? in, for example, the poem Plasten ("Plastics"; 1932) was dedicated to Dneprostroy. Since 1928, member. All-Ukrainian Union of Proletarian Writers, hands. Jewish section, then a member. Of the Presidium of the Union of Writers of the Ukrainian SSR and a member. Board of the Writers' Union of the USSR. During the Vel. Otech. war became a responsible secretary. EAK. 12/24/1948 during the defeat of the JAC was arrested. 11/7/1952 the military was sentenced. Collegium Top. USSR court for treason to the death penalty. Shot. 11/22/1955 rehabilitated.

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