Miss Lachmann, who started a private school for Jewish children in her native Berlin

Miss Lachmann, who started a private school for Jewish children in her native Berlin during the Nazi era, immigrated to the United States after the school was closed in 1939.










Иппокрена



Sonderdruck aus Heft 138/1979 Castrum Peregrini
KATZ, HANNAH L.: Erinnerungen an Erika Weigand 138:88



Das dichterische Werk. 3 Bnde, 2004

Catabwa

The fateful year of 1939: Vera Lachmann, who as a Jew is persecuted by the Nazis has to leave Germany in order to save her life. In her luggage: the language. Let us rediscover a lyric poet, among whose favourite poems are the songs of Sappho.

Vera Lachmann is born on 23 June 1904 in Berlin and grows up in a prosperous Jewish family. Her mother Caroline comes from Prague. Her father is the respected architect Louis Lachmann; he dies, when she is five years old. In the 20ies the young woman studies German and ancient languages in Basel and Berlin. In 1931 she receives her doctor's degree about the islandic saga and in February 1933 she is able to pass the state exam for graduate teachership. But the Nazis' takeover foils the post-doctoral lecturing qualification and hereby a university career as well as the possibility to work as a school teacher. She is also unable to publish her literary texts and a drama written by her which was already planned to be performed is taken off. Suddenly she is a woman without a future.

In the following years she devotes herself to a small private school which Vera Lachmann founds in April 1933 in the district of Berlin-Grunewald, together with her former teacher and motherly friend Helene Herrmann, who once introduced her to the Greek world of thought and the German classics. Now they teach 65 Jewish students - boys and girls - together, who are more and more driven out of the public schools. 'She had a lot of charm and humour', Lachmann's niece Beate Planskoy, who also visited this school remembers. 'But when she wanted to achieve something she could head for her goal as inconsiderate as a locomotive, and with this energy she has often achieved the almost impossible.'

At the end of 1938 the school is closed down by the Nazis. Afterwards Vera Lachmann helps to take Jewish orphans to safe countries. The hunt for entry and exit visas, ship passages and other required papers becomes a race against time. The more dramatic the situation becomes for the refugees, the more restrictive most countries handle their policy of giving asylum. It is only on 17 November 1939 that the 35-year-old leaves Germany herself, which not many others manage after the beginning of World War II.

When talking to Gabriele Kreis, author of the book Women in Exile, Vera Lachmann relates in 1980: "Luckily I had a friend, who managed to get a visa for me, when the quota had long been exhausted, and so I came to the USA via Sweden in 1939 with the 'Gripsholm' from Gteborg. Suddenly there I was on my own, and that even had its good sides. For me exile was a reincarnation. There was nothing of my former life which burdened me. The only thing which counted was what one knew... So I went through this until I finally ended up in my own subject again.'

What Vera Lachmann describes here in a succinct and laconic manner was a long and arduous path. After her arrival in the USA, being without any means and without any knowledge of the English language she works as a cleaning woman and secretary. Although she has been teaching German, Greek and Latin in various colleges and universities and teaches classical philology as a member of the faculty at Brooklyn College it is only in 1972 - at the age of 68 years - that she receives a professorship in her subject at the university of New York.

Apart from having to earn a living her literary work - her 'actual life' - comes to the fore. Her poems are published in various journals for German language, mainly in the New York immigrants paper Aufbau. The Amsterdam publishing house Castrum Peregrini finally publishes three volumes of poetry with American translation (Golden tanzt das Licht im Glas, 1969; Namen werden Inseln, 1975; Halmdiamanten, 1982). All of these Vera Lachmann has dedicated to her partner Tui St. George Tucker, a composer and recorder virtuoso, who set some of the poems to music. Born in California in 1924, she was named by her mother, who came from New Zealand, after a bird there.

The two women met in 1950 and lived together in Greenwich Village until the death of Vera Lachmann on 18 January 1985. For a long time Grete Sultan, a pianist who had emigrated from Germany was the third in the trio. When I wanted to call on Tui St. George Tucker in 1987 when staying in New York in order to collect more information about their life together I looked for her nameplate in vain. Some months ago I heard from Moritz von Bredow, who is writing a biography on Grete Sultan, that Tui moved to Catawba/Blowing Rock after Vera's death - the very place where for many years Vera Lachmann held summer camps for boys between 5 and 12. She was supported by Grete Sultan and her partner, who looked after the musical education of the boys. On 21 April Tui St. George Tucker, whose greatest piece of work, a requiem, was only finished the year before, dies in Catawba in the mountains of North Carolina.

It was the poems on which the experience of exile had left its mark, which made me curious for this woman. Her landscape and nature verses are often a cause for self-reflexion (Selbstbetrachtung) and an attempt to heal the wounds which result from the persecution and loss of people she loved. Numerous poems which have been dedicated to people show the close friendships with women: in many poems Vera Lachmann has set a literary monument for women, for example for the German-American Erika Weigand, with whom she had a love-relationship. Erika Weigand was born in 1917 and had lived in Germany from 1933 until 1937; it was her, who organized the life-saving security (Brgschaft) and a special teaching place, which helped the immigrant to get a visa for the USA. In 1946 she jumped to her death from a high-rise.


Erika's eyes

Today remembrance of your eyes, Erika,
makes my heart beat fast.
They sometimes shone, and were sometimes grey,
and often clairvoyant.
With childlike surprise they took notice of what was
and yet looked age-old,
their blueness encircling abyss-dark moons,
drunken with forms.
They were twin riddles large in reverence,
full in answer to love,
often deeply terrified, ice-green and distant,
finally forever sheltered in the lids.

(from: Namen werden Inseln)

The history of the culture and the ideas of the antiquity are a repeated motif in the poems of Vera Lachmann. The mythology of ancient Greece had the power to ease the trauma of the flight. Among her favourite poems were the songs of Sappho for her daughter. With the following poem Vera Lachmann shows her reference to the Greek poet.


Lesbos

Not the adamantine horn
of your very sublime mountain,
nor the opal twilight waters
of the bay you embrace,
not even the hundredfold roundness
on slopes buttressed by walls
of your silver-green olive wealth
makes you, island, so desired,
as does the hide-and-seek play
of your Undaunted One.
She quivers there awhile
in the tiny crown of a cyclamen
between broken rock,
yet before being picked
she flees into blast of mountain wind,
throws herself in sorrow
into after-glow of sea sand,
beats the ether
with slender crane wings
toward a pale-organe
large moon.

(from: Golden tanzt das Licht im Glas)

© Claudia Schoppmann (Berlin 2005)
Radcliff Nord (Translation, Bremen 2005)

Spencer Holst (Translation of the poems)

Spencer Holst (b. 1926-2001)
http://www.cats.obninsk.r>ureed/skazka/zebra1.htm">>THE ZEBRA STORYTELLER
http://www.gotlib.net/hol>stindex.html

Well known in the literary underground, Holst has published his short stories and poetry in numerous periodicals such as Mademoiselle and Oui. He has translated the work of German poet Vera Lachmann and published several volumes of his own writing, including two volumes of short stories, The Language of Cats and Other Stories (1971) and Spencer Holst Stories (1976), the latter a collection of imaginative and humorous fables that play with reality and fantasy.

In "Oracles," far and away his longest poem, [Richard] Howard adopts the persona of a woman, Vera Lachmann, philologist and poet, and exiled German Jew.

VERA LACHMANN

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Published: January 25, 1985

Vera Lachmann, a poet and Professor Emeritus of Classics at Brooklyn College, died Friday at St. Vincent's Hospital in Manhattan. She was 80 years old.

Miss Lachmann, who started a private school for Jewish children in her native Berlin during the Nazi era, immigrated to the United States after the school was closed in 1939.
The New York Times

Emigration: Vera Lachmann

"Ich wrde mich dort wahrscheinlich noch fremder fhlen als hier"


Vera Lachmann emigrierte 1939 in die USA. Sie erhielt zunchst verschiedene Lehrauftrge an Schulen und Hochschulen, behalf sich aber auch mit Arbeit in einer Molkerei, Handlangerttigkeiten in der New Yorker Public Library, Sekretrinnenjobs und Putzdiensten. Schlielich unterrichtete sie Griechisch und Latein am Brooklyn College, in der New School und am Hunter College. 1972 wurde sie zur Professorin ernannt. Die Sprachbarriere hinderte sie daran, in Amerika ganz heimisch zu werden. "Mein eigentliches Leben besteht in meinem Schreiben. Ich kann nur Deutsch schreiben. [...] Die Tragik, die Verzweiflung des Exils besteht bei mir darin, in einer Umgebung zu leben, in der die Menschen nicht verstehen knnen, was ich schreibe. [...] Mein Tagesablauf spielt sich auf englisch ab. Vom Aufwachen an ist alles, was ich von mit gebe, Englisch. Und Englisch ist immer noch eine Fremdsprache fr mich. Wenn ich etwas auf englisch verffentliche, etwas Wissenschaftliches, mssen meine Freunde es mir korrigieren. Ich bin meiner selbst nicht sicher."26a Ihre Lyrik-Lesungen in den USA und die Verffentlichungen ihrer Gedichte gestaltete sie zweisprachig. Auch Deutschland und die deutsche Sprache wurden ihr fremd. "Das Deutschland, an das ich mich tief gebunden fhle, existiert so nicht mehr. [...] Die Sprache hat sich gendert [...]. Nein, ich wrde mich dort wahrscheinlich noch fremder fhlen als hier. Hier fhle ich mich als Deutsche, nicht nur durch meine Gedichte, ich habe auch andere Reaktionen als die Amerikaner."26b 1985 verstarb Vera Lachmann in New York.

Deutschland ist angeklagt. Vera Lachmann, 1933
"[...] Mein Land, wie mag ich dich schmhn, indem ich dich anschau'?
Ich bin zu klagen gekommen, aber seh' deiner Kiefern Blau
Und ihrer rauhen Stmme ziegelnen Schaft.
Du bist mir zu wunderbar. Davon wird meine Anklag' ohne Kraft.
Und mu ja zu allem Zrnen schpfen deinen Laut,
Den du mir nicht zum Zrnen, wohl, dich zu loben, anvertraut.
Die Sprache, die ich von dir trag',
Ist meinem Geiste eine Braut.[...]"

Deutschland ist angeklagt. Vera Lachmann, 1933

Tui St.George Tucker


Golden tanzt das Licht im Glas
Renata von Scheliha 1901-1967. Gedenkbuch








Charles A. Miller (ed.), Homer's Sun Still Shines: Ancient Greece in Essays, Poems and Translations. New Market, VA: Trackaday, 2004. Pp. 106; CD. ISBN 0-9606522-3-X. $20.00.

Reviewed by John Lewis, History and Political Science, Ashland University (jlewis8@ashland.edu)
Word count: 1848 words

This elegant little volume is a centennial tribute to Hellenist, poet and educator Vera Lachmann (1904-1985), a German migr to America who fled the Nazis in 1939.1 The title is from the last line of Friedrich Schiller's poem "The Walk" ("Der Spaziergang"): "And Homer's Sun: Behold! It is the same that shines for us." The book consists of two essays by Lachmann, several of her poems -- in German, with English prose translations -- and her translations of fragments from epic, lyric and dramatic poets. The CD has fragments of her fireside recitations, given at Camp Catawba, the North Carolina retreat she founded, where young people could immerse themselves in the culture of the Greeks by hearing her voice around a campfire. This book is a memorial to a passionate advocate, and teacher, of Greek culture.

There is first-hand evidence here for the transmission of Hellenic thought to American students, through the lens of early twentieth-century German classical scholarship and Romanticism. But such an analysis would likely be something other than what Lachmann would have wanted, for she was not a scholar but a poet, and less a student of the Greeks than one who reveled in their culture and brought its enchantments to young people. Her own published work was three volumes of poetry.2 Editor Charles A. Miller -- also the book's publisher -- describes her approach to education as "felt learning," and her own poetry as "learned feeling." (17) This captures both her debt to the German Romantic tradition as well her path in life, which took her to emotional interaction with Greek culture rather than the travails of scholarship.

Miller's introduction, "Vera Lachmann, Hellenist," is a concise (29 pages) portrait of Lachmann and the formative influences on her. Born in Berlin in 1904 "on the high plateau of German philhellenism," she was drawn to the classics not by the lectures of Wilamowitz-Moellendorff, which she attended at the University of Berlin, but rather by the earlier excitement of Helen Hermann, her instructor at a progressive school, Odenwald.3 "How she could tear down the curtain and introduce us to other worlds!" she wrote of her teacher and mentor. (1) Lachmann was deeply involved with the German Romantics -- Goethe, Wolfram, and lesser known figures such as Friedrich Hlderlin and Stefan George -- and Miller describes how she was "tugged in two directions for both a philosophy of life and a career by which she could live that philosophy out." She made her choice with a decision not to complete the second dissertation required for university teaching, but to open a school in 1933 for Jewish children who were excluded from public schools, run from her apartment and co-directed by Hermann. She fled to America in 1939.

After short teaching stints at Salem College, Bryn Mawr and the Yale German Department, she taught classics at Brooklyn College from 1948-1974. Despite her influence on students (Miller quotes several), her emotionalist "felt learning" did not lend itself to academic advancement. She was most distinguished by her purchase of 18 acres of land in the mountains of North Carolina, and the establishment of Camp Catawba, a retreat for students that may have been modeled on Odenwald. Miller paints a wonderful picture, starting in Chapter One, "Homer," of nights around the campfire, of young people inspired by listening to Lachmann not only recite Homer but also embellish the tales as a personal storyteller. It is an added bonus to enjoy Lachmann's own voice on the CD, as her young charges heard her. Following a reading of Odyssey 8.83-95, when Demodicus sings at the feast given by the Phocians, she draws the text into vivid immediacy:

And then he started singing, of all subjects, about the wooden horse and the fall of Troy. Now -- can you understand that? -- when Odysseus heard this, that something he had lived through, that was part of his life, had already become a subject for literature, for a song, for an entertainment among other people -- that was a very strange sensation. He put his cloak over his head and quietly cried. I can understand that very well -- I don't know whether you can. Some things I have lived through have already become subjects for drama or for history or for a movie. And I can't really stand hearing it. And it moves me strangely -- and that was the way Odysseus felt. He just cried. (26)

Lachmann's own emotive connections were not only to the death of Helen Hermann at Auschwitz -- which she learned of after the war -- and the suicide of her friend Erica Wiegand, but also to the death of her older brother, Erich Lachmann, fighting for Germany at the front in August, 1914. In her poetic diptych to Erich, the first sonnet is set in Flanders, but the second is in Iliad 16, the burial of Sarpedon. Despite such morbid themes and their profound effect on her, Lachmann's own favorite poet was Pindar -- sampled in Chapter Two "The Poets," with fragments of Pindar, Sappho, Alcman, Simonides, Ibycus -- precisely because he is the poet of praise. We hear her read two fragments of Pindar, and three by Lachmann herself, in German as always. Excerpted here, and performed to music on the CD, is her "Dankender Preis" ("Thankful Praise"):

Singst du, Pindar,
Stroemt wie des Obestes ein Duft
Aus der Schale, wo der Pfirsich
Samten schlummert Trauben.

Pindar when you are singing ... a fragrance streams as from fruit in a bowl where the peach velvetly slumbers under grapes.

Chapter Three "The Dramatists" reveals Vera Lachmann staging dramas at Camp Catawba: Chekhov, Molire and Schiller, as well as Aeschylus' Persians, Aristophanes and Sophocles. Lachmann translated Philoktetes into English, her only translation of a drama (of which this book provides only a snippet). Miller reports, with explicit disappointment, that "few poetic or even distinctive passages can be found in her translation." The possibility that her work might work better in an oral presentation than in silent reading is suggested by the one snippet that is provided, which allows an actor to cry out the syllables of Sophocles himself: "It kills me child! I am devoured, child! Papai! Appappapai! Papappapappapappapai!" as Philoktetes begs to have his foot hacked off. (46)

Lachmann's dominant focus remains on the theme of place. Chapter Four "The Geography of Greece" (with fragments of Pindar, Solon, Bacchylides, Archilochos, Anacreon) is drawn from her unfinished manuscript "Greek Places and Greek Poems." Under Lachmann's care, poetry becomes a motivation to visit Greece, and, for those unable to do so physically, a way to make the journey without leaving one's home. A special treat here is a small watercolor by Lachmann, from above the agora in Athens, looking upon the Temple of Hephaistos behind the Church of the Apostles. Her poems to Athens, Delphi, Mycenae, Orchomenos and the Aegean reflect her deep conviction that the Greeks portrayed the transcendent by faithful rendering of that which is immediately before them. In "Abschied von Attika" ("Farewell to Attica") she writes:

Marmormutter! Muss ich mich von dir wenden,
Attike, du grosse? In deinen Furchen
Schlafen Gesnge.

Marble mother, must I turn away from you, great one, Attica? In your furrows songs sleep.

Vera Lachmann's choice of a career as a teacher and poet was nearly perfect; her one article project, in 1969, was an effort swamped in misery. Chapters Five and Six are two of her essays. Chapter Five, "The Bow and the Lyre: A Fragment by Herakleitos" is an address to the Honors Students of Brooklyn College, a very short (three and a half page) translation and analysis of a fragment of Heraclitus, used beside the passage in Odyssey 21 where Odysseus "feels the bow in his hands." Thesis, antithesis and synthesis are her defining paradigm: "In the two instruments, the bow and the lyre, the ingenuity of man has forced recalcitrant ends together, in the bow for pain, in the lyre for joy." (71) Given the metaphor, Lachmann affirms the place of Heraclitus in a literary tradition, all the while introducing a daring new thought, that the only constant is change. What is important here is of course the record of how such ideas were communicated to university students over nearly three decades.

But it is Vera Lachmann's essay in Chapter Six, "Lyrics of the Greek Landscape," written as an introduction to her unpublished book, that provides the closest equivalent to her own theoretical understanding of poetry (in 14 pages). Her focus is on the view of nature the poets embraced, so radically different from our own ("so much does the town seem to be grown from the soil. Both [a house and a stream] seem a part of nature," 74); the places they lived in ("With its merciless contrast of rich and poor, with its thrills of entertainment and politics, its ethnic turmoil, noise, dirt and crime, Alexandria was a city in the modern sense," 75); the poet as individual ("To achieve this the lyric poet of ancient Greece adopted, as lyric poets have since, a stance of arrogance," 76); "the inviolable relationship between god and place" (80), and the use of simile and epithet. But most of all it is the locale that is important to Vera Lachmann. Her poetry becomes a motivation both to visualize Greece and to visit the Marmormutter, by uniting the general with the concrete, the sublime with the physical, and the divine with a pastoral hillside.

There are many technical questions that arise from reading Vera Lachmann. To mention just one, just how should we take the poets' representations of places? On the one hand, she tells us that they "speak of places whose significance is, however, legendary; although the poets would not have put it this way, the places are a mix between fact and fiction." (78) On the other hand, "contemporary readers should also not take the theomorphic representation of scenery or the polis as a literary device." What is the purpose of fictional places if not literary devices? But to analyze her this way misses the point. In her world it is the emotional experience that is the key to appreciating Greece not the nuances of scholarship or technical expertise.

Charles Miller, who is not a classicist but clearly a philhellene, deserves credit (and an order) for this self-published book. In his words, the book "is intended to exemplify and preserve the memory of a person who touched the lives of many others and helped shape their minds and their spirit." There are a few typos -- kuroi for kouroi (76), Arcagas for Acragas (84), "form Horace to Keats" (85) -- and I do wish the CD selections had been organized in the same order as they appear in the text, but these are minor quibbles. One can hope that this little volume gains a reading from classicists, and that a fuller treatment of Vera Lachmann's life -- and the illumination it can shed on the transmission of classical culture into the present day -- can be brought to fruition.

Notes:


1. The volume is available from Charles A. Miller, Trackaday, 280 Strickler Ln., New Market, VA 22844. The audio CD contains readings, in Greek and English, from Homer, Sophocles, Aristophanes, Pindar, Sappho, Alcman, Ibycus and Solon; and a musical setting by Tui St. George Tucker of a poem in German, in praise of Pindar, by Vera Lachmann. Poems by Vera Lachmann include: Awakening in Athens; The Parthenon; Morning in Olympia; Castalia: The Spring at Delphi; Aegean Ship; In Eressos; Evening in Mycenae; Farewell to Attica.
2. Her poetry was published by Castrum Peregrini Press of Amsterdam as Golden Tanzt das Licht im Glas / Golden Dances the Light in Glass (1969), Namen Werden Inseln / Names Become Islands (1975), and Halmdiamanten / Grass Diamonds (1982). Miller's Notes and Acknowledgements include helpful references to Vera Lachmann's poetry in other works.
3. Miller quotes Lachmann's friend since student days, Friedrich Solmsen, on Wilamowitz: "hardly anything he said led to an appreciation of Sophocles' poetry, of his characters, his view of life or whatever it was that set him apart from Aeschylus and Euripides." (2) From Solmsen, "Wilamowitz in His Last Ten Years," Greek, Roman and Byzantine Studies, 20.1 (1979), 89-122, p. 107.
Bryn Mawr Classical Review 2004.11.20

To the Editor:
It was with great pleasure that I saw
Professor Vera Lachman featured in this
past issue of the Brooklyn College
Magazine. When the call had been put
out by your magazine for our favorite
professors, she was the one who
immediately came to mind. Since
graduating from Brooklyn College in 1972
with a B.A. and later going on for a
master’s and a doctorate, no other
teacher had as much influence on me as
she did. Sitting in her class one got the
impression that she personally knew
Homer, Odysseus, Achilles, and all the
other memorable characters. To this day I
have retained my copies of the Iliad and
the Odyssey. The Iliad cost me $1.56 and
the Odyssey $1.20. I am glad to have had
an opportunity to praise a truly
remarkable teacher.
Robert Margolis, ’72

To Vera Lachman (Classics, 1958–1974) the gods and goddesses of the ancient Greek classics were as real and alive as we were. She imparted to her students a sense of the personalities, psyches, and interpersonal dynamics that infused the lives of these dear friends of hers. They, in turn, became dear friends of ours as well.
Annette (Unger) Ramsay, ’65; M.S., ’72








"Жизнь будет гораздо проще, если у нас будет только восемь планет и множество интереснейших маленьких объектов в Солнечной системе, - считает Брайан Марсден (Brian Marsden), директор Центра малых планет МАС. - Поймите меня правильно, я не против Плутона, он очень интересен. Но и вокруг много интересного"

почему слепому нужно закрыть глаза?



DELAND, Fla. - Talk about lost in the mail. A postcard sent from a Stetson home to a man in Riverside, Calif., was returned this week with a "return to sender" stamp — and its 1956 postmark.
ADVERTISEMENT

Mack McCormick, 59, did not send the postcard, but he lives in the home where the postcard originated. It was delivered to his mailbox Monday.

"The card apparently has been in the twilight zone for 50 years," McCormick said. "It's not wrinkled or anything."

He used the Internet to track down the author of the note, George Hitz, 64, who now lives in Sudbury, Mass.

"I had to keep asking questions and pull it out of Mack," Hitz said. "It wasn't obvious to me that he lived in our house."

Hitz, a former ham radio operator included his age on the postcard and information about a radio contact he made in February 1956 with someone he called "Chief Operator Dave." No street address was included for Dave, which may explain why the postcard was not delivered, postal officials said.

It is unlikely the postcard spent the last 50 years in a DeLand post office, said Joseph Breckenridge, U.S. Postal Service spokesman for Central and North Florida. The local post office has not been in the same location that long, and maintenance workers would have found it if it was trapped in a sorting machine, Breckenridge said.

The card may have been sent to California and was rediscovered recently by someone who dropped it back in the mail, Breckenridge said.

Hitz said he is not interested in getting his old postcard back. McCormick plans to frame it.




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