A4 format typescript (29 x 20 cm). The text has a front title France Pre\u0161erin<\/em>, the cover contains information about authorship (Luiza Pesjakova \u2013 \u010crtomir Zorec), title, subtitle and information about the place and year of publication (Kranj 1970). There is also a handwritten note on the SLOGI library copy (sig. II 828) (a gift from \u010crtomir Zorac on March 8, 1972).<\/p>\n <\/p>\n <\/a>LUIZA PESJAK<\/strong><\/p>\n Poet and writer Luiza Pesjak<\/a> se je rodila leta 1828 kot Aloisia Crobath. Njen o\u010de, Bla\u017e Crobath, starej\u0161i \u0161tudijski kolega in delodajalec Franceta Pre\u0161erna, je prijateljeval z najpomembnej\u0161imi slovenskimi razumniki: Aloisia je \u017ee kot otrok spoznala vse vidnej\u0161e intelektualce, politike in umetnike svojega \u010dasa iz Ljubljane in od drugod (v Crobathovem stanovanju je nekaj \u010dasa \u017eivel pesnik in politi\u010dni izgnanec, Poljak Emil Korytko). V otro\u0161tvu in v dobi odra\u0161\u010danja sta jo odlikovali nadpovpre\u010dna bistrost, izobra\u017eenost in uglajenost. Vsi njeni pesni\u0161ki in prozni poskusi so bili nem\u0161ki, saj vse do \u0161estdesetih let, do dobe narodnega preporoda, sloven\u0161\u010dine \u0161e ni obvladala. V nasprotju z mnogimi slovenskimi ustvarjalci, ki so za\u010deli pisati v nem\u0161\u010dini in so pozneje pre\u0161li na sloven\u0161\u010dino, njen \u00bbmaterni jezik\u00ab ni bila sloven\u0161\u010dina. Njena mati je bila Poljakinja in logi\u010dna izbira jezika v me\u0161anem, \u010deprav slovanskem zakonu, je bila nem\u0161\u010dina. V njenem krogu so poleg nem\u0161\u010dine ve\u010dinoma zelo dobro obvladali \u0161e franco\u0161\u010dino, u\u010dili pa so se tudi drugih jezikov. Luiza kot \u017eenska ni mogla obiskovati klasi\u010dne gimnazije, a se je kljub temu temeljito izobrazila. Poleg kurikuluma \u017eenskih vzgojnih zavodov je nekaj let predelovala bratovo gimnazijsko u\u010dno snov, na voljo so ji bile tudi \u0161tevilne in\u0161trukcije: med njenimi doma\u010dimi u\u010ditelji je bil tudi France Pre\u0161eren.<\/p>\n At twenty, she unexpectedly lost her father, got married and devoted herself to her family. During this time, her literary creation faded into the background. However, more than ten years later, with the help of a local teacher who taught her five daughters, she improved her Slovenian to the point where she was able to actively participate in Slovenian cultural life. At the time of his first Slovenian publication of the song Which I love<\/em> (1864 in Bleiweis News<\/em>) je za\u010dela aktivno sodelovati z ljubljansko \u010ditalnico. Pri njenem delu so jo vzpodbujali najvidnej\u0161i slovenski ustvarjalci \u0161estdesetih in sedemdesetih let. Fran Levstik, ki je popravljal njene slovenske literarne poskuse, je bil kriti\u010den do njenih prevodov Pre\u0161erna v nem\u0161\u010dino. Kljub temu jo je vneto nagovarjal k pisanju spominov o ustvarjalcih in kulturnikih, ki jih je spoznala \u017ee kot otrok. Zelo aktivna je bila tudi kot sodelavka Stritarjevega Bells<\/em>. Tudi Stritar je kot urednik popravljal njena slovenska besedila, vendar je zanimivo, da sta si dopisovala v franco\u0161\u010dini. Kljub vsem opisanim literarnim dejavnostim je bila Luiza Pesjak prete\u017eno otro\u0161ka in mladinska pisateljica. Pesmi in povesti za otroke je objavljala predvsem v \u010dasopisu Kindergarten<\/em> in sicer od za\u010detka izhajanja revije pa vse do svojega dokon\u010dnega umika iz javnega in literarnega \u017eivljenja (od 1871 do 1893). Isto\u010dasno je besedila objavljala tudi v nem\u0161kih mladinskih in dru\u017einskih revijah. Ves \u010das je namre\u010d pisala tako v sloven\u0161\u010dini kot tudi v nem\u0161\u010dini. Velik del njenega opusa je dvojezi\u010den, saj je tudi prozna dela za odrasle objavljala vzporedno v slovenskem in nem\u0161kem jeziku.<\/p>\n In the last period of her work, she wrote a lot for The Ljubljana Bell<\/em>, where she was invited by editor Fran Levec. Among other texts, she published memoirs From my childhood<\/em> (1886). The text consists of three chapters (meetings with France Pre\u0161ern, Emil Korytko and Stanko Vraz), and it ends with a poem dedicated to all three role models.<\/p>\n Her most extensive text is a novel Beata's diary<\/a><\/em>, which was published in 1887.<\/p>\n <\/p>\n <\/a>CREATION FOR THE THEATER AND COLLABORATION WITH THE DRAMATIC SOCIETY<\/strong><\/p>\n Even before the founding of the Dramatic Society, Luiza Pesjak adapted two short dramatic texts for the Ljubljana reading room. Both merry-go-rounds, Svitoslav<\/em> bunny<\/a> and Poison<\/em><\/a>, were published in 1865.<\/p>\n She wrote the text for the reader's needs Slovenia Guide<\/em> (1866) and a shorter dramatic text In Koprivnik<\/a><\/em>, which was published in the Yearbook of the National Reading Room in Ljubljana (1872, with the subtitle: a dramatic scene presented in the solemn speech of the Ljubljana reading room Guide to commemorating the 4th day of the feast<\/em> 1872).<\/p>\n In the collection Slovenska Talija, she published a translation of the merry play A party girl<\/em> (1870, vol. 14) and one-act plays My late one<\/em> (1873, vol. 23).<\/p>\n The highlight of the author's work for the theater was the premiere and printing of the libretto Gorenje nightingale<\/em> (1872).<\/p>\n <\/p>\n <\/a>LITERATURE ABOUT THE AUTHOR<\/strong><\/p>\n In different periods, the literary work of Luiza Pesjak received more or less attention, but thanks to new and new settings Gorenjski slav\u010dek<\/em> she never quite sank into oblivion. Reading records of her work, we get the impression that interest in her is growing. We also collected some literature in our library<\/a>.<\/p>\n More recent literature, records and analysis are available online:<\/p>\n <\/p>\n <\/a>\u010cRTOMIR ZOREC<\/strong><\/p>\n The poet and writer \u010crtomir Zorec (1907-1991) began his professional career as a teacher and principal at the Secondary Textile School in Kranj, and continued as a curator and later director of the Gorenje Museum (1962-1971). In addition to local history texts, he published articles about the life and work of France Pre\u0161eren, which he also collected in a book In Pre\u0161eren's footsteps<\/em> (1964). The fruit of his engagement with the great poet is, among other things, the arrangement of Pre\u0161eren's house in Kranj and the erection of the Kranj Pre\u0161eren monument.<\/p>\n In addition to domestic studies and literary history, he was also involved in theater and drama. He worked with the Pre\u0161eren Theater as a playwright, director and editor of the theater paper. Among his works for the theater is also a reworking and addition of a tragedy Pre\u0161erin<\/em>, which was preserved among the manuscripts in the legacy of Luiza Pesjak (NUK, Ms 488). \u010crtomir Zorec wrote the fifth act, which, according to information in secondary literature, should have taken place in 1849 and depicted Pre\u0161eren's illness and death.<\/p>\n <\/p>\n <\/a>LUIZA PESJAK AND FRANCES PRESHEREN<\/strong><\/p>\n Pisatelji\u010din o\u010de je s Pre\u0161ernom, ki je bil od njega tri leta mlaj\u0161i, prijateljeval \u017ee v \u0161tudentskih letih na Dunaju. Leta 1833 je v Ljubljani uspel odpreti lastno odvetni\u0161ko pisarno in \u017ee leto pozneje se je Pre\u0161eren pri njem zaposlil kot odvetni\u0161ki pripravnik in vodja pisarne. Po relativno nestabilnem obdobju menjavanja raznih slu\u017eb je ostal pri Bla\u017eu Crobathu ve\u010d kot desetletje (1834-1846) – vse do odhoda v Kranj. Crobath je bil Pre\u0161ernu izjemno naklonjen: imela sta podobne nazore in veliko skupnih prijateljev. Med njimi je bil poleg Matije \u010copa in Andreja Smoleta tudi mladi poljski izgnanec Emil Korytko. Z njim so bili verjetno tako tesno povezani tudi zato, ker je bila Crobathova \u017eena Poljakinja. V zakonu se jima je rodilo pet otrok. Najstarej\u0161a, Aloisia, ki je bila nadarjen in vedo\u017eeljen otrok, je imela v dekli\u0161kem zavodu le omejene mo\u017enosti izobra\u017eevanja, tako da je imela tudi privatne u\u010ditelje; zgodovino, latin\u0161\u010dino in angle\u0161\u010dino jo je pou\u010deval tudi France Pre\u0161eren. Kot lahko beremo v njenih spominih, sta s Pre\u0161ernom v originalu skupaj prebirala roman angle\u0161kega avtorja Oliverja Goldsmitha Wakefildski vikar<\/em> respectively Vicar of Wakefield<\/em>, as the title of the later Slovenian translation read. The text had a significant influence on German and Slovenian romances (Tatjana Kopitar: Olivera Goldsmitha The Vicar of Wakefield<\/em> with Slovenes until 1876, Slavic magazine<\/em>, 12. 1959\/60, no. 1-4, p. 194\u2013223<\/a>).<\/p>\n During Pre\u0161eren's tenure, the Chrobaths changed three locations, but in all three cases they lived in the house where they also had business premises. Given that s Pre\u0161eren<\/a> friends and that he was at their house practically every day, his teaching his eldest daughter was understandably and logistically quite simple.<\/p>\n Pre\u0161eren also helped young Alojzia or Luiza with preparations for the recitation of verses, which he composed during the feasts in honor of her parents. In the first half of the nineteenth century, Slovenian educated people communicated mostly in German. It is interesting that the young creator was inspired to write poetry by Slovenian poets, but for the first half of her life she only expressed herself in German, so it is completely understandable that Pre\u0161eren dedicated exclusively German verses to her.<\/p>\n![\"Gorenjski](\"https:\/\/www.slogi.si\/wp-content\/uploads\/1871\/12\/Gorenjski-slavcek-1872-prevodi-veseloiger-1-802x1030-1-150x150.jpg\")
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