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Lesya Ukrainka V. SOL (Rondeau) The nigthingale’s song in the Spring Is sounding in grove, and in greenwood, Yet I cannot hear these songs. And the fragrant spring flowers Did not blossom for me in the grove — And hidden for me is Spring's paradise These songs and the beautiful flowers I remember like strange fairy tale — in dream ......... Free songs, loud and clear In my native land I long to hear, I hear but sad lament everywhere. Oh, is it true, my country dear, That free songs are sounding there only in dream? Translated by Jean Wolcott Piper Two lines in bold letters, translated by Melanie Milanovych are , engraved on Lesya Ukrainka’s monument in Cleveland, Ohio. Michael Chereshniowsky and His Lesya One day this summer I visit ed with the sculptor in his Brook lyn home. On his quiet face there was no surprise at my call, for his monument of Lesia Ukrainka was our common bond of inter est. It was as though in his heart he expected me. “The first thing I wanted to know,” he said, “was the land scape in which the monument would stand. This is as impor tant as the frame of a painting. There must be harmony in color between the two so that it will appear to be an integral part of the scene. So I went to Cleve land, Ohio to see the Ukrainian Cultural Garden and found an appropriate place. This was the first step, the foundation for my work.” When finished the monu ment is of a greenish hue, and limned against the sunset will seem as though the potess had walked into that lovely, tran quil Garden. “What came next,” I asked, “her pictures or her work?” “Both of them,” he answered. “Lesia Ukrainka’s work is well known to every Ukrainian of my generation. Nevertheless one must relive it with her, again and again, to fully appreciate her rich literary heritage. I went through it, my eye fixed on her figure, on her face, with every picture of her available. I talked with many people who knew her personally.” “Did you depend on the opin ion of Mrs. Borysova, Lesya’s sister?” I inquired. “She was my most important adviser,” he replied. “We spent many hours discussing every de tail. She gave me valuable infor mation about Lesya’s tempera ment, attitude and habits. She helped me to decide which one of Lesya’s pictures could be fun damental for my work.” And drawing from a pile of photo graphs, he handed me one to in spect, the double picture of 1901, where the poetess was tak en with the writer Olga Koby- lanska, when she was 30 years old. “Then I started working,” he continued. I did not have much time for it, because of my job, and other duties. I had only two or three evening hours a week for this work. But these hours were filled with great longing to re-create her form.” Michael Chereshniovsky conducts a course in wood-carving for chil dren once a week. “Are you satisfied with" your work?” I asked. “I cannot answer that ques tion,” he replied. “I did my best, but certainly, given more time, I could have done better.” Then he grew silent, and apart, as though reflecting on creative problems he had encountered. I did not intrude on his reverie. We are grateful indeed for the glimpses of his work which he gave to the readers of OUR LIFE. INTERNATIONAL WOMEN’S ALLIANCE — DUBLIN The Congress of the Interna tional Women’s Alliance started August 21 in Dublin, Ireland. Its main theme “Towards Equal ity” is to be worked out in Com missions and Plenary Sessions. As a news attraction Informal Conference “May I have a Word with You?” were featured. The World Federation of Uk rainian Women’s Organizations (WFUWO) takes part as a frat ernal organization in the Con gress. Our delegate Mrs. Irene Pawlykowsky left July 15 for Europe and arrived in time, having first visited our member organizations in France, Ger many, Austria, Belgium and England.
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