Hayim Nahman Bialik (1873-1934) is considered Israel's national poet and one of the greatest Hebrew poets of all time. Several of his poems, particularly his immensely popular children's verse, were set to music and proved to be among the most popular twentieth-century Hebrew songs. An essayist, storyteller, translator, and editor, he had a unique ability to use fully the entire linguistic and conceptual inventory of the Hebrew language. Bialik's career was a turning point in Hebrew literature, bringing Biblical Hebrew into a contemporary usage and forming the basis of its renewed vigor. His legacy remains embedded in modern Hebrew literature like an immovable foundation stone. Atar Hadari's new translation of Bialik's major poetry fills a long-standing gap in English letters.

What does it mean for poetry and music to turn to each other, in the shadow of the Holocaust, as a means of aesthetic self-reflection? How can their mutual mirroring, of such paramount importance to German Romanticism, be reconfigured to retain its validity after the Second World War? These are the core questions of Axel Englund's book, which is the first to address the topic of Paul Celan and music. Celan, a Jewish Holocaust survivor who has long been recognized as one of the most important poets of the German language, persistently evoked music and song in his oeuvre, from the juvenilia to the posthumous collections. Conversely, few post-war writers have inspired as large a body of contemporary music, including works by Harrison Birtwistle, György Kurtág, Wolfgang Rihm, Peter Ruzicka and many others. Through rich close readings of poems and musical compositions, Englund's book engages the artistic media in a critical dialogue about the conditions of their existence. In so doing, it reveals their intersection as a site of profound conflict, where the very possibility of musical and poetic meaning is at stake, and confrontations of aesthetic transcendentality and historical remembrance are played out in the wake of twentieth-century trauma.

This book explores the life and poetry of Chaim Nachman Bialik (1873–1934) in the context of European national literature between the French Revolution and World War I, showing how he helped create a modern Hebrew national culture, spurring the revival of Hebrew as a spoken language. The author begins with Bialik’s background in the Tsarist Empire, contextualizing Jewish powerlessness in Eastern Europe in the late nineteenth century. As European anti-Semitism grew, Bialik emerged at the vanguard of a modern Hebrew national movement, building on ancient biblical and rabbinic tradition and speaking to Jewish concerns in neo-prophetic poems, love poems, poems for children, and folk poems. This book makes accessible a broad but representative selection of Bialik’s poetry in translation. Alongside this, a variety of national poets are considered from across Europe, including Solomos in Greece, Mickiewicz in Poland, Shevchenko in Ukraine, Njegoš in Serbia, Petőfi in Hungary, and Yeats in Ireland. Aberbach argues that Bialik as Jewish national poet cannot be understood except in the dual context of ancient Jewish nationalism and modern European nationalism, both political and cultural. Written in clear and accessible prose, this book will interest those studying modern European nationalism, Hebrew literature, Jewish history, and anti-Semitism.

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During his lifetime, Chaim Nachman Bialik was hailed and the poet larueate of Jewish nationalism and was regarded as one of the major Jewish cultural influences of his age. He was seen as the poet of hope and revival in an age which witnessed the Russian Pale of Settlement, pogroms, the Russian Revoltuion, the rise of Zionim and of Hebrew as a living language. David Aberbach explores the historical, social and literary background to Bialik's rise a a Romantic-nationalist poet, his ambivalence to this national role, his obsession with intensely private themes and the interplay between the public figure and the confessional lyric poet. Aberbach shows how Bialik's poetry reveals a profoundly tortured inner life and how strongly he felt the inseparble links between his art and his life.