{"id":432721,"date":"2011-06-20T00:00:00","date_gmt":"2011-06-20T00:00:00","guid":{"rendered":"http:\/\/archives.gov.by\/en\/?page_id=432721"},"modified":"2011-06-20T00:00:00","modified_gmt":"2011-06-20T00:00:00","slug":"vintsent-dunin-martsinkevich-personality-and-work","status":"publish","type":"page","link":"https:\/\/archives.gov.by\/en\/welcome-to-the-archives-of-belarus-website\/subject-guides-to-archival-records\/famous-people\/classic-writer-of-belarusian-literature-vintsent-dunin-martsinkevich\/vintsent-dunin-martsinkevich-personality-and-work","title":{"rendered":"Vintsent Dunin-Martsinkevich: personality and work"},"content":{"rendered":"
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Overview<\/b><\/td>\r\n <\/tr>\r\n<\/table>\r\n\r\n
\r\n\"Dunin-Martsinkevich\"\r\nalign=\"left\" <\/p>\r\n\r\n

Vintsent DUNIN-MARTSINKEVICH, <\/small>the classic author of Belarusian\r\nliterature, one of the founders of new Belarusian literature and dramatic art,\r\npoet,\u00a0theatrical figure, public man.<\/p>\r\n\r\n

He was born 4 February 1808 (new calendar) at the Paniushkavichi grange, Bobruisk\r\ndistrict, Minsk province (now in Bobruisk district, Mogilev region) into the noble family\r\nof Yan (Ivan) Dunin-Martsinkevich and Martsiana nee Niadzvedzki. The boy, named Vintsent\r\nYakub, was baptized at the Parish Catholic Church in Bobruisk. <\/p>\r\n\r\n

In the 17th century, the writer’s ancestors possessed the estate of Martsinkevichi in\r\nthe Smolensk province. The family had its own coat-of-arms called “Lebed” (Swan)\r\nand enjoyed the rights of the nobility. Vintsent’s parents, however, did not have their\r\nown land and rented the Paniushkavichi grange from their brother-in-law, Stanislau\r\nBogush-Sestrantsevich, an archbishop of Mogilev, later a metropolitan for Roman-Catholic\r\nchurches in the Russian empire. It should be noted that Dunin-Martsinkevich had to\r\nrepeatedly confirm his noble origin in order to settle various personal and family affairs\r\nas the bureaucratic system of imperial Russia demanded this.<\/p>\r\n\r\n

Vintsent’s boyhood years<\/strong> are little documented. He lost his father\r\nearly. It was thought that in 1824 he finished the district school in Bobruisk but,\r\naccording to some new data, in 1819 he was sent to Saint Petersburg in care of S.\r\nBogush-Sestrantsevich, a highly educated man, Slavonic scholar, writer, member of the\r\nRussian Academy of Sciences, who personally supervised his education. The story tells that\r\nthe young Dunin-Martsinkevich entered the Medical and Surgical Academy in St Petersburg\r\nbut abandoned his studies because he could not stay in the anatomy room. <\/p>\r\n\r\n

From the mid 1820s, <\/b>Dunin-Martsinkevich lived in Minsk, worked as an assessor in\r\nthe land court, a clerk in the criminal court, a translator for the Ecclesiastical\r\nCatholic Consistory, and had a post at the Assembly of the Nobility. <\/p>\r\n\r\n

In 1831, <\/b>he married a lawyer’s daughter, Yuzefa Baranovska, with whom he had\r\nseven children. In 1840, he purchased a small estate of Lutsynka in the Minsk district\r\n(now the village of Malaia Lutsynka in Volozhyn district, Minsk region), where he settled\r\nafter leaving the public service. <\/p>\r\n\r\n

The data exist that in the beginning of the 1840s Dunin-Martsinkevich served a steward\r\non the estate of Shchaury in Senno district, Mogilev province. Later he travelled through\r\nthe whole Belarus as an agent handling the affairs of his clients, for he had experience\r\nof work with legal documents. He spent\u00a0a lot of time in Minsk, where he was active in\r\nsocial and cultural life. <\/p>\r\n\r\n

In this period Dunin-Martsinkevich started his literary activity. His first works were\r\nwritten in Polish. He wrote texts for the musical comedies “Musicians Contest”,\r\n“Magic Water” and “Jewish Recruitment” (staged by the Jewish Amateur\r\nTheatre in 1841), in which\u00a0 he raised the topic of the recruitment as an impediment\r\nto the happy life of the Jewish family. The music was composed by Stanislau Maniushka. The\r\nwriter himself participated in composing music; sometimes he performed as an actor in his\r\nplays (for example, he played the part of an old Jew in the operetta “Jewish\r\nRecruitment”). <\/p>\r\n\r\n

In the mid-1840s, Dunin-Martsinkevich began to collaborate with the publishers. In\r\n1846, his libretto to the dramatic opera “A Village Girl” (later renamed\r\n“Idyll”) was published in a single book in Vilna. The music was composed by S.\r\nManiushka and K. Kzhyzhanouski with the participation of V. Dunin-Martsinkevich. In\r\naddition to dramatic dialogues and monologues, the work contains many arias and duets,\r\nchoral pieces and dances. “Idyll” is a fundamental work in the development of\r\nthe new Belarusian literature. While the lords are here speaking Polish, the villagers for\r\nthe first time in a literary work speak in Belarusian. Dunin-Martsinkevich showed himself\r\nas an advocate of social peace and moral self-development. He ridiculed the nobility’s\r\narrogance and their blind love for everything French but at the same time he created a\r\ntype of a kind landlord who through his love for a village girl (eventually she appeared\r\nto be a disguised lady) began to love the villagers and wanted them to love him too. The\r\nidealisation of the reality did not prevent Dunin-Martsinkevich from portraying a typical\r\npeasant character. The true hero in the play was not a landlord but a villager, Navum\r\nPrygavorka, a village head who supervised the work of the peasant serfs. This character\r\nwas very important to Dunin-Martsinkevich; he used the name of this personage for his\r\npseudonym. “Idyll” was very popular in Belarus; the text was rewritten and\r\nspread in manuscript copies, reviews of the work’s theatrical performance appeared in the\r\npress. The opera was first staged at Dunin-Martsinkevich’s theatre in Minsk in 1852; the\r\npart of Navum was played by the author himself. <\/p>\r\n\r\n

The theatre of Dunin-Martsinkevich, an amateur theatrical company created by the\r\nwriter, existed through the 1840s and 1850s. It was the first Belarusian national theatre\r\nof modern type. The company comprised over 20 persons, including the writer, his two\r\ndaughters, his son and the representatives of Minsk intelligentsia. Also, the peasant\r\nchoir from Lutsynka participated in the performances; there was an orchestra. The\r\ntheatre’s repertoire included mainly the plays written by Dunin-Martsinkevich. The\r\naudience and the theatre critics marked the outstanding actor skills of the playwright.\r\nThe theatre supported the traditions of popular art and was distinguished for its\r\ndemocracy. Immediately after the first production of “A Village Girl”, the\r\ntheatre was forbidden to perform but continued doing so illegally, staging plays in\r\ndifferent towns in Belarus until 1856. <\/p>\r\n\r\n

Dunin-Martsinkevich’s children – daughter Kamila and son Miraslau – received popularity\r\nas talented pianists already at young age in the late 1840s, giving concerts in Minsk,\r\nVilna, Kiev and Warsaw. The father was concerned about their further education and in 1851\r\nhe petitioned the throne’s heir, Grand Duke Alexander Nikolaevich, for their free\r\nenrollment in the Paris Conservatory but his request was refused. Later Miraslau studied\r\nat a musical institute in Warsaw. Kamila even wrote music. <\/p>\r\n\r\n

In the 1850s, <\/b>Dunin-Martsinkevich lived chiefly in Minsk. In 1854, his wife\r\ndied. Later he married Maria Grusheuska. The writer often visited Vilna, where he met with\r\nmany figures in culture and science. In 1854, he travelled in Palesse. Several times he\r\nvisited Shchaury. Also, he had wide contacts with the Minsk intelligentsia: poets,\r\nmusicians, artists, publishers. <\/p>\r\n\r\n

At this time his poetry collections “Gapon” (1855), “Evenings and the\r\nMadman” (1855), “Taking Interest? Read!” (1856), “A Belarusian Piper,\r\nor a Little of Everything” (1857) were for the first time published in Minsk. These\r\nincluded short stories and narratives in verse about the life of the villagers, written\r\nnot only in Polish but also in Belarusian. The poem “Gapon”, the writer’s first\r\nwork written entirely in Belarusian, describes the conventionality of the class division\r\nin society. The Belarusian poetic stories “Zmitser, Stupid but Sly”,\r\n“Kupala”, “Shchaury Harvests” etc. bear\r\nclear folklore motifs. Among the Polish-language works the most significant are the\r\nnarratives “The Slavs in the 19th Century” dedicated to the struggle of the\r\nsouthern Slavs against the Turks and “The Writers’ Concerns” about the hard lot\r\nof a writer, his material and spiritual concerns, happiness from the people’s support. In\r\naddition, the books contain verses in Polish and Belarusian. <\/p>\r\n\r\n

These publications had a resonance. The Petersburg-based magazine “Fatherland’s\r\nSon” issued a favourable review entitled “Belarusian literature” dedicated\r\nto Dunin-Martsinkevich’s books. The Belarusian critic and local specialist Uladzislau\r\nSyrakomlia gave several reviews in the Warsaw and Vilna press, in which he called\r\nDunin-Martsinkevich “a phenomenon noteworthy from the point of view that\r\nMartsinkevich was the first who took the Belarusian Pipe of our People into his\r\nintelligent hands and with this created a song that the people understood”. <\/p>\r\n\r\n

In 1857, Dunin-Martsinkevich wrote a Belarusian ballad “A Grass Flower, the\r\nBrother and Sister”, in which the author again used a folklore subject, and “The\r\nFolk Tales, Navum’s Stories”, including the versed stories “A Wicked Wife”,\r\na condemnation of immoral conduct and profligacy, and “Halimon at the\r\nCoronation” dedicated to the feast on the enthronement of Alexander II who promised\r\nto give the people their long-awaited liberties. It was not until\r\nthe mid 20th century, when these works were published in the Soviet magazines\r\n“Belarus” and “Polymia”. <\/p>\r\n\r\n

In the second half of the 1850s, Dunin-Martsinkevich translated from Polish into\r\nBelarusian the poem “Pan Tadeush” written by the Polish poet of Belarusian\r\norigin Adam Mitskevich, an epic picture of life in Belarus in the early 19th century. This\r\nwas the first translation of the famous work into another Slavic language. It was planned to be published in Vilna in 1859; the first two parts (tales) out\r\nof twelve had already been printed and even bound, but in the last moment the censorship\r\ndid not allow its appearance (formally because the text was set in Latin script) and\r\nalmost the whole edition was destroyed. Dunin-Martsinkevich, trying to save the\r\npublication of his translation of\u00a0“Pan Tadeush”, explained this situation\r\nto the Main Censorship Committee: “Of a hundred peasants in our provinces you can\r\nprobably find ten who can read Polish and, on the contrary, there is hardly one peasant\r\nfor a thousand who knows Russian. So, when a Belarusian work is printed in Russian\r\nletters, you can just lock it in a chest, for… the upper class…will not take a peasant\r\nbook in their hands, and peasants, even if they are fond of reading, cannot satisfy their\r\nwish without knowing the Russian letters”. (At that time the Belarusian language was\r\nnot officially used for over a century and a half. The old tradition of Cyrillic writing\r\nand printing was then interrupted and the Latin alphabet was normally used in those few\r\npublications in which the Belarusian language was still present). The censors from Saint\r\nPetersburg were however inexorable. Only in 1907, on the basis of the surviving material\r\n(four copies have survived) Dunin-Martsinkevich’s translation was issued by the Belarusian\r\nPublishing House “Zagliane sontsa i u nasha akontsa” (literally translated as\r\n“the-sun-will-look-in-at-our-little-window-too”) in Petersburg. <\/p>\r\n\r\n

A historical narrative in verse “Lutsynka, or the Swedes in Litva”, written\r\nin Polish in 1857 and published in a single book in Vilna in 1861<\/strong>,\r\npoeticizes the courage and heroism of the Belarusian ancestry in the struggle against the\r\ninvaders. This was Dunin-Martsinkevich’s last book published during his lifetime. <\/p>\r\n\r\n

Dunin-Martsinkevich was close in views to the noble revolutionaries of the early 1860s.\r\nIn 1861, on the way to Warsaw together with U. Syrakomlia he gave patriotic speeches in\r\ndifferent towns and villages. The writer’s activity attracted the attention of the police;\r\nhe was even expelled from the town of Kouna (Kaunas).\u00a0In the patriotic and democratic\r\nspirit Dunin-Martsinkevich brought up his children. The writer and his family were\r\nconnected with the national liberation movement and supported the participants in the\r\nKalinouski Uprising of 1863-1864. The resolution of the Provisional\r\nField Auditing Commission, a punitive body that carried out reprisals against the\r\ninsurgents, reported that “Martsinkevich is guilty of not educating his family in the\r\nspirit of allegiance to the government and therefore cannot be regarded himself reliable\r\nin political respect”.\u00a0 <\/p>\r\n\r\n

Two photos of Dunin-Martsinkevich survive which were taken in the\r\nearly 1860s by the famous Minsk photographer A. Prushynski. One of them, a group portrait,\r\nshows among the other people taken together with the writer and his daughter Kamila, many\r\npersons wearing an insurgent uniform – a coat with a stand-up collar and dark horizontal\r\nstripes on the breast. The other photo shows Dunin-Martsinkevich alone in this coat. But\r\nthis uniform was strictly forbidden and non-compliance with the ban symbolised the\r\nparticipation of its wearer in the patriotic movement. In 1861, the police made a list of\r\nparticipants in the political demonstration in Minsk who sang the forbidden revolutionary\r\nhymn. No.1 was Kamila Dunin-Martsinkevich and No.2, photographer Prushynski. Insurgent A.\r\nSventarzhetski recollected that Lutsynka was one of the main centers of the uprising in\r\nthe neighbourhood of Rakau.
\r\n
\r\nThe authorities suspected Dunin-Martsinkevich of being an author of anti-government\r\npublications, particularly a propaganda pamphlet called “The Conversation of an Old\r\nMan” which condemned the tsarist rules and called on the villagers to support the\r\nliberation movement. In 1864, he was arrested and was kept in the castle prison in Minsk\r\nfor more than a year. Though the main accusations against him were not proved, a heavy\r\nfine was imposed on Dunin-Martsinkevich and his family, their property was partly\r\nconfiscated (with a limited right of use) and the writer was forced to stay in Lutsynka\r\nunder police surveillance with no right of leaving the place. The writer’s daughter Kamila\r\nwas exiled for ten years to the town of Solikamsk in the Urals. <\/p>\r\n\r\n

The last twenty years of life (from the mid 1860s to the mid 1880s)<\/b>\r\nDunin-Martsinkevich spent in Lutsynka. He lived here in solitude and only seldom visited\r\nMinsk. During this time he wrote a lot but all his attempts to publish his works failed.\r\nIn 1866, he wrote a Belarusian comedy (or a farce-vaudeville as the writer called it)\r\n“The Nobility of Pinsk”. This is considered the best work of\r\nDunin-Martsinkevich. The play\u00a0 ridicules the haughtiness of the minor nobility, their\r\nfear of the authorities, and the unjust court system. Only in 1917, “The Nobility of\r\nPinsk” was staged\u00a0by the First Belarusian Society of Drama and Comedy at the\r\ntown theatre in Minsk. In 1918, the play was first published in the newspaper\r\n“Volnaia Belarus” (Free Belarus). <\/p>\r\n\r\n

In 1868, Dunin-Martsinkevich wrote in Polish the poem “Over the Islach River or\r\nthe Medicine at Bedtime” (the author called it “the story of Navum\r\nPrygavorka”), in which the vanishing idyllic life on the farmsteads of the minor\r\nnobility is opposed to the new\u00a0reality with its cynicism and thirst for money. The\r\nwork was first published only in 1894, already in Belarusian translation. <\/p>\r\n\r\n

In the Belarusian and Polish speak the characters in the satirical comedy\r\n“Matchmaking”, written by Dunin-Martsinkevich in 1870. The work continues the\r\ntheme of consumerism and unscrupulousness typical of the coming capitalism. The Polish\r\ntexts were translated into Belarusian in the early 20th century by Yanka Kupala; in 1915\r\n“Matchmaking” was staged by the Belarusian Musical and Theatrical Circle in\r\nVilna. The play was first published in the newspaper “Volnaia Belarus” in 1918. <\/p>\r\n\r\n

In 1876, the police resumed their surveillance of the writer,\r\nwhich had recently been abandoned, this time in secret. The pretext was a small private\r\nschool that existed in the mid 1870s in Lutsynka without official permission, in which the\r\nwriter’s daughter Tsezarina taught children from the neighbourhood. <\/p>\r\n\r\n

At that time, according to the recollections of a Belarusian\r\nwriter Sh. Yadvigin, then a student at the school, the master of the grange wrote a lot\r\nand kept his manuscripts in a large chest. But most of his writings have not survived. <\/p>\r\n\r\n

Dunin-Martsinkevich died on 29 December 1884<\/strong> (new calendar). He was\r\nburied in the cemetery at Tupolshchina near Lutsynka. <\/p>\r\n\r\n

* * *<\/p>\r\n\r\n

With the passing time, Dunin-Martsinkevich’s works and\r\npersonality have become increasingly important for the Belarusian culture. <\/p>\r\n\r\n

For a long time, until the new archive records shed more light on\r\nhis personality, Dunin-Martsinkevich was regarded as a noble revolutionary, liberal,\r\nadvocate of Sentimentalism, a weak and inconsistent man inclined to idealize the life. In\r\nthe last decades however the literary critics managed to see him anew as an author and\r\ncitizen. <\/p>\r\n\r\n

The literary critic and historical editor G. Kisialeu notes:\r\n“We got accustomed on the basis of his works to see the Belarusian poet weak and\r\nsweetish …But there is the other Dunin-Martsinkevich, who is a staunch fighter for the\r\nnational culture, a democrat who called for attention to the villager and rose to the\r\nlevel of the most progressive people of his time”. <\/p>\r\n\r\n

“Let them speak whatever they want, but it was me who first\r\ndressed the poetic beauty of our villagers in the garments of folk aesthetics, brought it\r\nonto the life stage and preserved in a number of works of domestic literature, and that is\r\nwhat I am proud of”, – wrote Dunin-Martsinkevich. <\/p>\r\n\r\n

During his whole life Dunin-Martsinkevich stayed in opposition to\r\nthe tsarist authorities though he tried to avoid open conflict. The complex environment of\r\nthe epoch and concern about his large family forced him to hide his aspirations and to\r\nsearch for a compromise, especially after the suppression of the 1863-1864 uprising. <\/p>\r\n\r\n

The role of Dunin-Martsinkevich as a founder of new Belarusian\r\nliterature is highly important. G. Kisialeu calls him the first Belarusian professional\r\nwriter. Dunin-Martsinkevich “was professional not in the sense it afforded him the\r\nmeans of subsistence (most probably it caused him losses) but because he believed this to\r\nbe the main thing in his life”. The researcher of the writer’s legacy Ya.\r\nYanushkevich calls him the first classic author of new Belarusian literature. Furthermore,\r\nDunin-Martsinkevich stood at the origins of the new national theatre – he was not only a\r\nplaywright but also a theatre manager, director and actor. <\/p>\r\n\r\n

Dunin-Martsinkevich was one of the first who showed Belarusian\r\npeasants as the main characters in his works. He was also among the first to write many\r\nworks in the Belarusian language, which at that time neither had an official status nor\r\nwas well developed as the language of belles-lettres. “Belarusian literature at that\r\ntime, after a long period of decay, almost did not exist, and it was Dunin-Martsinkevich\r\nwho laid the foundation, raising the language of peasants to the literary level”,\r\nwrote G. Kisialeu. The literary critic V. Ragoisha calls Dunin-Martsinkevich’s work\r\n“a feat of courage”. “…At the time of Dunin-Martsinkevich, especially in\r\nthe first half of the 19th century, when the medieval serfdom still ruled in the Russian\r\nempire, when the social oppression was increased by the national yoke, when several\r\ncenturies of Polonization turned into no less violent Russification –\r\nyou had to possess the foresight as well as courage to declare openly in the press that\r\nthe Belarusian peasant was as noble as a landlord or a tsarist official, that his\r\n“plain language” was as human as the Polish or Russian, that “there is no\r\nland as our dear Belarus!” <\/p>\r\n\r\n

According to the Belarusian literary critic A. Loika,\r\nDunin-Martsinkevich came into the history of Belarusin literature as the author of\r\n“Gapon”. “The poem Gapon<\/em> is a turning point in the fate of the\r\npre-revolutionary Belarusian literature and\u00a0a determining work in the literary fate\r\nof Dunin-Martsinkevich. It is the work for which our literature received a wide attention,\r\nwhich declared a common man as a main hero and the attention to the peasant village as the\r\nmain aesthetic principle, announcing the aesthetic value of the peasant life, folklore and\r\nthe peasant language, the Belarusian language. Gapon<\/em> played a role of a manifesto\r\nin new Belarusian literature, its first democratic, ideological and aesthetic credo”.\r\n
\r\n<\/p>\r\n\r\n

“Although Dunin-Martsinkevich’s democracy and national\r\ncharacter were limited by his noble origin, the traditions he laid were highly meaningful\r\nfor the whole posterior Belarusian literature”, – says G. Kisialeu.\u00a0 <\/p>\r\n\r\n

* * *<\/p>\r\n\r\n

The prominent figures in Belarusian art and culture often turned in their work to the\r\nimage of Dunin-Martsinkevich and his legacy. <\/p>\r\n\r\n

A statue of the writer is erected in the village of Malaia Lutsynka, Volozhin district,\r\nMinsk region and a memorial plaque is placed on the site of his house. In Bobruisk, a bust\r\nof Dunin-Martsinkevich is erected in front of the theatre building and a commemorative\r\nsign is attached to the local Catholic church. In present days, a bust of the writer (by\r\nsculptor Yu. Platonov) has been raised on his tomb\u00a0instead of the older cross. The\r\nimage of Dunin-Martsinkevich is placed on a medallion, commemorative medals, stamps and\r\npostcards; a coin is released in his memory. <\/p>\r\n\r\n

To celebrate the 175th anniversary of the writer, an exhibition was opened at the\r\nPalace of Arts in Minsk to present nearly 160 works of graphics, painting, decorative art,\r\nsculpture and posters dedicated to his personality and work, which were contributed by\r\nmore than a hundred artists.\u00a0 <\/p>\r\n\r\n

The name of Dunin-Martsinkevich is attached to the Regional Theatre of Drama and Comedy\r\nin Bobruisk; the streets in Minsk, Molodechno, Ivenets and the village of Piarshai in\r\nVolozhin district bear his name. The Dunin-Martsinkevich literary museum was opened in the\r\nPiarshai school. There are plans to erect the writer’s monument in Minsk and a museum in\r\nLutsynka. <\/p>\r\n\r\n

In 1984, all works by Dunin-Martsinkevich were published in a special edition. In 2007,\r\nthe first book of a two-volume Collected Works of Dunin-Martsinkevich, which includes his\r\npoetic and dramatic works both in original language and in Belarusian translation (if the\r\nwork was written in Polish), was issued. Also, the comedy “The Nobility of\r\nPinsk”\u00a0was printed in five European languages in a single book. <\/p>\r\n\r\n

Dunin-Martsinkevich’s works are included in school curriculum.\u00a0 <\/p>\r\n\r\n

His plays “Idyll”, “The Nobility of Pinsk”, “Matchmaking”\r\nwere staged in many professional and amateur theatres. “The Nobility of Pinsk”\r\nwas televised.<\/p>\r\n\r\n

Belarusian composers take inspiration from Dunin-Martsinkevich’s works. G. Vagner\r\nproduced an opera based on “The Nobility of Pinsk” and P. Pukst composed music\r\nto its theatrical production. U. Kurian created a musical setting for “Idyll” at\r\nthe Kupala National Academic Theatre. I. Luchanok and Z. Yautukhovich wrote songs based on\r\nthe writer’s poetry. <\/p>\r\n\r\n

The attention to Dunin-Martsinkevich’s personality and legacy is seen both in Belarus\r\nand abroad. His works are translated into German, Russian, Ukrainian, Polish and Latvian\r\nlanguages. The writer’s legacy was studied by the Polish, Ukrainian, Russian, English,\r\nGerman, Lithuanian, Slovak and Yugoslav scholars. <\/p>\r\n\r\n

In 2004, the Fifth Rakov Readings on the topic “Vintsent Dunin-Martsinkevich in\r\nthe Slavonic Literary Relationship” took place in the village of Piarshai, Volozhin\r\ndistrict near Marstsinkevich’s Lutsynka. <\/p>\r\n\r\n

The 200th anniversary of the writer was celebrated in Belarus at international level\r\nunder the aegis of UNESCO. <\/p>\r\n","protected":false},"excerpt":{"rendered":"Overview Vintsent DUNIN-MARTSINKEVICH, the classic author of Belarusian literature, one of the founders of new Belarusian literature and dramatic art, poet,\u00a0theatrical figure, public man. He was born 4 February 1808…","protected":false},"author":1,"featured_media":0,"parent":393967,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-432721","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/pages\/432721"}],"collection":[{"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/comments?post=432721"}],"version-history":[{"count":0,"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/pages\/432721\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/pages\/393967"}],"wp:attachment":[{"href":"https:\/\/archives.gov.by\/en\/wp-json\/wp\/v2\/media?parent=432721"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}