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The Fateful Adventures of the Good Soldier Švejk During the World War #2
The Fateful Adventures of the Good Soldier Svejk During the World War, Book Two
In Book One of The Fateful Adventures of the Good Soldier Svejk During the World War Jaroslav Hasek wrote about the familiar world he lived in and wrote about his whole life before the onset of the "War to End All Wars". Book One introduces that world to those who are not familiar with it. For those "in the know" it is a hilarious stroll down the familiar the pubs, cops, politics, houses of ill repute, eking out a living. Even after Svejk already joined the military, life goes on as usual. He and his cohorts might be in uniform, but frequent the same pubs, interact with the same people under similar circumstances. The military is not much different than the police. It's just another uniformed service diminishing one's options and pleasure, only to be outwitted and largely ignored. Book One sets the stage for what follows once Svejk moves out with his outfit to go to the front. As the text, now continuing in Book Two, progresses, it becomes clear that The Good Soldier Svejk is not a book meant for the light entertainment of the leisure class. There have been quite a few "livingers", people making a living from interpreting what Hasek meant by what he wrote, who or what svejk is and arguing among themselves. If the common working people find the text funny or even hilarious, it is because, as Don DeGrazia put it, it is "a bellowing barroom brawl of a book that will forever have everyday people doubled-up with the painful laughter of recognition". Such laughing people know svejk without having to analyze him or the text he lives in. On the other hand, if you want to take that route, you will find a lot of material to confront at SvejkCentral.com.
228 pages, Paperback
First published January 1, 1923
58 people are currently reading
516 people want to read
About the author
Jaroslav Hašek
318 books303 followersJaroslav Hašek was a Czech humorist, satirist, writer and anarchist best known for his novel The Good Soldier Švejk (Czech: Osudy dobrého vojáka Švejka za světové války), an unfinished collection of farcical incidents about a soldier in World War I and a satire on the ineptitude of authority figures, which has been translated into sixty languages. He also wrote some 1,500 short stories. He was a journalist, bohemian, and practical joker.
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Displaying 1 - 30 of 36 reviews
June 3, 2011
I was an editorial consultant on this new English translation. Thus I read it--with a microscope, multiple times--before it was published. Here is what I drafted as an "Afterword" to the book, which was not in the end used:
"We set ourselves the task of rendering Hasek’s account of Svejk’s adventures into English. Most Czechs will tell you that is impossible.
Most translations—“good” translations—read as though they were written in the language that is being read. If you didn’t already know it was a translation, you wouldn’t be able to tell by reading it. But this was not our vision. This most “Czech” of novels can’t be translated—in this way—because too much of its Czechness would be lost along the way. That’s why Czechs think it can’t be translated.
Zenny would put it into “English” and my job was to tell him it wasn’t English. I told him how to put it into English, and he told me that wasn’t what the Czech meant. And so it went. No doubt some of its Czechness has been lost. But some has been preserved—not just the content, but a sense of the language.
The value of this approach was well-expressed by Rudolf Pannwitz, in Die Krisis der europaischen Kultur, 1917 (quoted by Walter Benjamin in “The Task of the Translator,” an introduction to a Baudelaire translation, 1923; this text translated into English by Harry Zohn, 1968):
'Our translations, even the best ones, proceed from a wrong premise. They want to turn Hindi, Greek, English into German instead of turning German into Hindi, Greek, English. Our translators have a far greater reverence for the usage of their own language than for the spirit of the foreign works.... The basic error of the translator is that he preserves the state in which his own language happens to be instead of allowing his language to be powerfully affected by the foreign tongue. Particularly when translating from a language very remote from his own he must go back to the primal elements of language itself and penetrate to the point where work, image, and tone converge. He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible, to what extent any language can be transformed, how language differs from language almost the way dialect differs from dialect; however, this last is true only if one takes language seriously enough, not if one takes it lightly.'
We have tried to take Czech seriously. The cost is a certain smoothness that the reader expects; the benefit is a broadening in our acquaintance with a “foreign tongue”.
A customer reviewer on Amazon.com of the first edition of the first book of this translation wrote:
'When I saw this new translation of Svejk in a bookstore I immediately bought it. I love the novel and I have always thought that the Cecil Parrott translation, although good, wasn't quite “it”. The problem with Parrott’s translation is that it is a little too formal compared to the Czech original (incidentally, I’m fluent in Czech, so I know what the prose should feel like). This new Sadlon translation promised to remedy this situation, so optimistically I plowed right in, hoping for the best. Unfortunately, although the language has been (appropriately) “roughed up” a bit, the prose has suffered. Hasek’s prose flows. It feels “right”; it doesn’t jar. Unfortunately, Sadlon’s translation at times does. Parrott’s prose is, I think, closer to the original in its feel, while Sadlon’s vocabulary is closer to the original. Blending the two, I suppose, might be the answer.'
Here, we see, is a dilemma: Hasek’s prose flows, but Czech and English are very different languages. If we render it into English that flows, we lose some of its Czechness; if we preserve its Czechness, it doesn’t flow in English—it jars. The reviewer hopes for a “blending of the two,” but that is easier said than done.
This, at any rate, is the best we could do. Some may think we have massacred the English, but at least we haven’t euthanized the Czech."
"We set ourselves the task of rendering Hasek’s account of Svejk’s adventures into English. Most Czechs will tell you that is impossible.
Most translations—“good” translations—read as though they were written in the language that is being read. If you didn’t already know it was a translation, you wouldn’t be able to tell by reading it. But this was not our vision. This most “Czech” of novels can’t be translated—in this way—because too much of its Czechness would be lost along the way. That’s why Czechs think it can’t be translated.
Zenny would put it into “English” and my job was to tell him it wasn’t English. I told him how to put it into English, and he told me that wasn’t what the Czech meant. And so it went. No doubt some of its Czechness has been lost. But some has been preserved—not just the content, but a sense of the language.
The value of this approach was well-expressed by Rudolf Pannwitz, in Die Krisis der europaischen Kultur, 1917 (quoted by Walter Benjamin in “The Task of the Translator,” an introduction to a Baudelaire translation, 1923; this text translated into English by Harry Zohn, 1968):
'Our translations, even the best ones, proceed from a wrong premise. They want to turn Hindi, Greek, English into German instead of turning German into Hindi, Greek, English. Our translators have a far greater reverence for the usage of their own language than for the spirit of the foreign works.... The basic error of the translator is that he preserves the state in which his own language happens to be instead of allowing his language to be powerfully affected by the foreign tongue. Particularly when translating from a language very remote from his own he must go back to the primal elements of language itself and penetrate to the point where work, image, and tone converge. He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible, to what extent any language can be transformed, how language differs from language almost the way dialect differs from dialect; however, this last is true only if one takes language seriously enough, not if one takes it lightly.'
We have tried to take Czech seriously. The cost is a certain smoothness that the reader expects; the benefit is a broadening in our acquaintance with a “foreign tongue”.
A customer reviewer on Amazon.com of the first edition of the first book of this translation wrote:
'When I saw this new translation of Svejk in a bookstore I immediately bought it. I love the novel and I have always thought that the Cecil Parrott translation, although good, wasn't quite “it”. The problem with Parrott’s translation is that it is a little too formal compared to the Czech original (incidentally, I’m fluent in Czech, so I know what the prose should feel like). This new Sadlon translation promised to remedy this situation, so optimistically I plowed right in, hoping for the best. Unfortunately, although the language has been (appropriately) “roughed up” a bit, the prose has suffered. Hasek’s prose flows. It feels “right”; it doesn’t jar. Unfortunately, Sadlon’s translation at times does. Parrott’s prose is, I think, closer to the original in its feel, while Sadlon’s vocabulary is closer to the original. Blending the two, I suppose, might be the answer.'
Here, we see, is a dilemma: Hasek’s prose flows, but Czech and English are very different languages. If we render it into English that flows, we lose some of its Czechness; if we preserve its Czechness, it doesn’t flow in English—it jars. The reviewer hopes for a “blending of the two,” but that is easier said than done.
This, at any rate, is the best we could do. Some may think we have massacred the English, but at least we haven’t euthanized the Czech."
January 8, 2017
Druhý díl jednoznačně hodnotím jako slabší. Jednak se místy děj prakticky zastaví a jedná se pouze o změť napůl nesmyslných historek a filozofování. Zadruhé mi přijde postava Švejka jako takového svých chováním jaksi zvláštně nekonzistentní napříč oběma knihami. Aniž by Švejk prošel nějakým zjevným vývojem, zdál se mi být výrazně jiný na konci druhé knihy než jak začal v první. Vzhledem k tomu, že jsem se chvílemi do čtení musel trochu nutit, nevidím mnoho důvodů pokračovat ve čtení dalších dílů.
January 31, 2018
I’m writing this review after finishing Book Two of “The Fateful Adventures of the Good Soldier Svejk in the World War”.
In this review, I’m going to include my thoughts on the differing Cecil Parrot and Zenny Sadlon translations, as I feel which translation you read will give you a different experience with the titular character, and the story in general. In short, the Sadlon translation gives the reader a novel with extraordinarily more depth and layers than the Parrot translation.
“The Good Soldier Svejk” is little known here in America, but apparently is a folk institution in Central and Eastern Europe, and is especially important to the people of the Czech Republic, the land of its inception. On the surface, it’s a comedic and satiric take on World War One from the Czech perspective. In the Parrot edition, there are many moments of slapstick and levity. Conscripted Private Svejk is challenged with navigating the Czech bureaucracy, and is beset by one amusing situation after another. One reviewer calls him a, “European Forrest Gump”.
A deeper look, with more context reveals something else entirely. While the slapstick and levity remain, the book becomes more caustic. It’s not only the tale of a man beset by the absurdity of military bureaucracy, it becomes a story about a man who is a symbol for a subjugated country that exists within a larger dystopian governmental structure. The eponymous subject of the book, Svejk, is a man caught in the grinding gears of a police state, doing his best to survive not only the government’s machinery, but the war that it’s feeding him into. (Additionally, the book is not solely about Svejk. He is often a medium used to describe the state, culture and nature of Austro-Hungarian Czechia.) Svejk is not Forrest Gump. Gump was a symbol of America’s loss of innocence in the 1960’s and his author’s attempt to grapple with the change in American culture into the 1980’s. Gump is, in today’s parlance, “on the spectrum” and his responses to the situations he’s thrust into, are viewed in awe that someone with those intellectual “challenges” can rise to the occasion and succeed.
Svejk, is a different animal altogether, and this where the importance of what translation you read, comes into play.
When reading the Parrot edition, readers often question, “Is this guy an idiot, or is he extremely clever?”. Certainly there’s room for a lot of interpretation here. In the Sadlon translation, there is no mystery, Svejk is doing what it takes to survive, and that perception is possible through the clarity of the translation.
To what do we owe this crystal-clear focus and lack of confusion? In my opinion, it’s very simple. Sadlon is a native Czech speaker, and Sir Cecil Parrot wasn’t.
I don’t want to bash Parrot here. He served as a diplomat to the Czech people, and obviously had a great deal of love for the country and the culture. Translating this sprawling book must’ve been quite an undertaking, so we can’t fault his earnestness in wanting to bring this wonderful story to the English speaking world. However, having read 60% percent of his translation, and the same content in the Sadlon translation, I can say that Parrot’s vernacular obscures the subtleties and nuances that make a huge difference in what Hasek was communicating to the reader. I can’t state this enough, the Sadlon edition is a much different book that unmasks a significantly more intricate picture of World War One era Czechia.
I know some will consider attacking a Penguin Classics edition as sacrilege (Parrot’s publisher), but the differences exist. Sadlon’s translation is not 100% polished – but the problems I had with a couple of the words he used are minor and inconsequential. Sadlon was criticized for using the vernacular of modern American English, but to that I say, so what? Is it better to use far outdated British vernacular that doesn’t adequately communicate the story? Is Svejk not supposed to be the story of an Everyman for …every man? Should the story not be more accessible to today’s English language readers (even if they’re British?) If Hasek were the equivalent with a more florid writer, I might take issue. But in both the Parrot and Sadlon translations, the story is described in plain, concise diction and delivery. There is no grandiloquent exposition that would require the literary strengths of a Melville or Faulkner, and would require a poetic translator. If you are interested in a spirited and expertly argued debate about the translation, google Michelle Wood’s review of Sadlon’s edition in Jacket Magazine (Jacket2. org), and then make sure you read Sadlon’s robust rebuttal (which is linked at the top of Wood’s review).
As I stand, at halfway through the four books of the Sadlon edition of Svejk’s story, what I’ve read is an amusing, shocking and poignant snapshot of a country at war and on the precipice of its own independence. It’s a compelling story, not only for following the adventures of Svejk and his beaming countenance, but I became invested enough, that I want to see how this turns out for him and his country.
I will add more thoughts when I finish the novel.
(Apologies to everyone who hates the name, "Czechia"...)
In this review, I’m going to include my thoughts on the differing Cecil Parrot and Zenny Sadlon translations, as I feel which translation you read will give you a different experience with the titular character, and the story in general. In short, the Sadlon translation gives the reader a novel with extraordinarily more depth and layers than the Parrot translation.
“The Good Soldier Svejk” is little known here in America, but apparently is a folk institution in Central and Eastern Europe, and is especially important to the people of the Czech Republic, the land of its inception. On the surface, it’s a comedic and satiric take on World War One from the Czech perspective. In the Parrot edition, there are many moments of slapstick and levity. Conscripted Private Svejk is challenged with navigating the Czech bureaucracy, and is beset by one amusing situation after another. One reviewer calls him a, “European Forrest Gump”.
A deeper look, with more context reveals something else entirely. While the slapstick and levity remain, the book becomes more caustic. It’s not only the tale of a man beset by the absurdity of military bureaucracy, it becomes a story about a man who is a symbol for a subjugated country that exists within a larger dystopian governmental structure. The eponymous subject of the book, Svejk, is a man caught in the grinding gears of a police state, doing his best to survive not only the government’s machinery, but the war that it’s feeding him into. (Additionally, the book is not solely about Svejk. He is often a medium used to describe the state, culture and nature of Austro-Hungarian Czechia.) Svejk is not Forrest Gump. Gump was a symbol of America’s loss of innocence in the 1960’s and his author’s attempt to grapple with the change in American culture into the 1980’s. Gump is, in today’s parlance, “on the spectrum” and his responses to the situations he’s thrust into, are viewed in awe that someone with those intellectual “challenges” can rise to the occasion and succeed.
Svejk, is a different animal altogether, and this where the importance of what translation you read, comes into play.
When reading the Parrot edition, readers often question, “Is this guy an idiot, or is he extremely clever?”. Certainly there’s room for a lot of interpretation here. In the Sadlon translation, there is no mystery, Svejk is doing what it takes to survive, and that perception is possible through the clarity of the translation.
To what do we owe this crystal-clear focus and lack of confusion? In my opinion, it’s very simple. Sadlon is a native Czech speaker, and Sir Cecil Parrot wasn’t.
I don’t want to bash Parrot here. He served as a diplomat to the Czech people, and obviously had a great deal of love for the country and the culture. Translating this sprawling book must’ve been quite an undertaking, so we can’t fault his earnestness in wanting to bring this wonderful story to the English speaking world. However, having read 60% percent of his translation, and the same content in the Sadlon translation, I can say that Parrot’s vernacular obscures the subtleties and nuances that make a huge difference in what Hasek was communicating to the reader. I can’t state this enough, the Sadlon edition is a much different book that unmasks a significantly more intricate picture of World War One era Czechia.
I know some will consider attacking a Penguin Classics edition as sacrilege (Parrot’s publisher), but the differences exist. Sadlon’s translation is not 100% polished – but the problems I had with a couple of the words he used are minor and inconsequential. Sadlon was criticized for using the vernacular of modern American English, but to that I say, so what? Is it better to use far outdated British vernacular that doesn’t adequately communicate the story? Is Svejk not supposed to be the story of an Everyman for …every man? Should the story not be more accessible to today’s English language readers (even if they’re British?) If Hasek were the equivalent with a more florid writer, I might take issue. But in both the Parrot and Sadlon translations, the story is described in plain, concise diction and delivery. There is no grandiloquent exposition that would require the literary strengths of a Melville or Faulkner, and would require a poetic translator. If you are interested in a spirited and expertly argued debate about the translation, google Michelle Wood’s review of Sadlon’s edition in Jacket Magazine (Jacket2. org), and then make sure you read Sadlon’s robust rebuttal (which is linked at the top of Wood’s review).
As I stand, at halfway through the four books of the Sadlon edition of Svejk’s story, what I’ve read is an amusing, shocking and poignant snapshot of a country at war and on the precipice of its own independence. It’s a compelling story, not only for following the adventures of Svejk and his beaming countenance, but I became invested enough, that I want to see how this turns out for him and his country.
I will add more thoughts when I finish the novel.
(Apologies to everyone who hates the name, "Czechia"...)
September 26, 2022
Brilliant!
January 13, 2015
العمل متقن بشكل لا يناقش
السخرية هنا او الفكاهة عبارة عن كل شخص حين يتحاور يستطرد في مواضيع طويلة عجيبة باحكام جدا مضحكة لكن لا تعلو على الجزء الاول
التفاصيل دقيقة من المؤلف ، تسلسل احداث محكم. فعلا نتشوق للجزء الثالث
السخرية هنا او الفكاهة عبارة عن كل شخص حين يتحاور يستطرد في مواضيع طويلة عجيبة باحكام جدا مضحكة لكن لا تعلو على الجزء الاول
التفاصيل دقيقة من المؤلف ، تسلسل احداث محكم. فعلا نتشوق للجزء الثالث
April 22, 2014
Tohle bylo mnohem horší než první knížka. Asi na tom něco nechápu, asi to neumím pořádně ocenit, ale tohle je pro mě prostě jen směsice skoro nesouvislých historek bez smysluplnějšího děje. Ne, nebavilo mě to. A upřímně, sotva jsem to dočetla...
April 12, 2025
„Bine s-a spus cândva că un om bine educat poate citi orice.”
— Jaroslav Hašek
Scrisă de Jaroslav Hašek și publicată în 1921, Peripețiile bravului soldat Švejk este o satiră remarcabilă adusă războiului, o frescă a absurdului și a prostiei instituționalizate, zugrăvită cu un umor pe alocuri dus la extrem.
Autorul intenționa să scrie șase volume dedicate aventurilor lui Švejk, însă din păcate viața nu i-a mai permis decât finalizarea a patru dintre ele. Chiar și așa, cartea a rămas una dintre cele mai importante opere ale literaturii universale de satiră.
Pentru mine, această carte a devenit categoric una dintre cele mai bune lecturi de până acum. Este imposibil să nu remarci combinația desăvârșită între umorul absurd, viața de soldat și parodierea Primului Război Mondial. În anumite momente, mi-a fost imposibil să nu mă gândesc la peripețiile lui Don Quijote, regăsind acea artă subtilă de a transforma prostia, naivitatea și încăpățânarea în surse inepuizabile de comic și reflecție.
Lectura în limba română merită, de asemenea, o mențiune specială. Traducătorul Jean Grosu a reușit să transpună cu o măiestrie de excepție această operă în limba română, lăsând impresia că Hašek însuși ar fi scris direct în românește. Jocurile de cuvinte, expresiile și frazarea naturală transformă lectura într-o experiență autentică.
[...]
- Cu respect vă raportez, domnule maior, că sunt silit să vă încui și să postez la ușă o santinelă pentru securitatea dumneavoastră. Când veți dori să ieșiți, domnule maior, vă rog să fiți atât de bun și să bateți la ușă.
- Bă, tâmpitule, se înfurie maiorul, ce-ți închipui bă, maimuță, cămilă cu două cocoașe, că mi-e teamă de vreun arestat, ca să vii tu să-mi postezi santinelă în timp ce-l interoghez? Crucea și dumnezeii mă-tii! Închide-mă odată și șterge-o de-aici să nu te mai văd!
[...].
Dialogurile sunt memorabile, pline de replici care au devenit deja celebre:
„Tu nu mă cunoști încă, da' când ai să mă cunoști, ai să încremenești de spaimă.” — locotenentul Dub
Un alt element de eleganță și rafinament literar îl reprezintă poeziile și cântecele presărate cu grijă în text, în cele mai inspirate momente — un artificiu literar care m-a dus cu gândul la Don Quijote sau chiar la Stăpânul Inelelor.
Inelul ce mi-ai dăruit,
Pe deget nu-l mai port!
Și cum l-aș mai purta,
Dacă-l încărcai în pușca mea?
Svejk este personajul perfect construit pentru a traversa această lume absurdă. Fiecare povestire din amintirile sale se potrivește ca o piesă de puzzle în contextul prezent, generând de fiecare dată zâmbete sau hohote de râs.
Unul dintre episoadele mele preferate rămâne cel în care, încercând să găsească loc de cazare pentru camarazii săi, Svejk întâlnește un prizonier rus care se scaldă liniștit într-un lac. Ce-i vine să facă? Să-l sperie, să-i fure hainele și să experimenteze cum se simte un soldat rus în propria piele, defilând astfel pe malul lacului. Evident, lucrurile o iau razna, iar Svejk este capturat de o trupă de soldați maghiari care îl confundă cu un prizonier evadat.
Aceasta e lumea lui Švejk: o realitate în care logica banală cedează în fața absurdului și a umorului involuntar — o lume în care prostia organizată pare mai periculoasă decât războiul însuși.
— Jaroslav Hašek
Scrisă de Jaroslav Hašek și publicată în 1921, Peripețiile bravului soldat Švejk este o satiră remarcabilă adusă războiului, o frescă a absurdului și a prostiei instituționalizate, zugrăvită cu un umor pe alocuri dus la extrem.
Autorul intenționa să scrie șase volume dedicate aventurilor lui Švejk, însă din păcate viața nu i-a mai permis decât finalizarea a patru dintre ele. Chiar și așa, cartea a rămas una dintre cele mai importante opere ale literaturii universale de satiră.
Pentru mine, această carte a devenit categoric una dintre cele mai bune lecturi de până acum. Este imposibil să nu remarci combinația desăvârșită între umorul absurd, viața de soldat și parodierea Primului Război Mondial. În anumite momente, mi-a fost imposibil să nu mă gândesc la peripețiile lui Don Quijote, regăsind acea artă subtilă de a transforma prostia, naivitatea și încăpățânarea în surse inepuizabile de comic și reflecție.
Lectura în limba română merită, de asemenea, o mențiune specială. Traducătorul Jean Grosu a reușit să transpună cu o măiestrie de excepție această operă în limba română, lăsând impresia că Hašek însuși ar fi scris direct în românește. Jocurile de cuvinte, expresiile și frazarea naturală transformă lectura într-o experiență autentică.
[...]
- Cu respect vă raportez, domnule maior, că sunt silit să vă încui și să postez la ușă o santinelă pentru securitatea dumneavoastră. Când veți dori să ieșiți, domnule maior, vă rog să fiți atât de bun și să bateți la ușă.
- Bă, tâmpitule, se înfurie maiorul, ce-ți închipui bă, maimuță, cămilă cu două cocoașe, că mi-e teamă de vreun arestat, ca să vii tu să-mi postezi santinelă în timp ce-l interoghez? Crucea și dumnezeii mă-tii! Închide-mă odată și șterge-o de-aici să nu te mai văd!
[...].
Dialogurile sunt memorabile, pline de replici care au devenit deja celebre:
„Tu nu mă cunoști încă, da' când ai să mă cunoști, ai să încremenești de spaimă.” — locotenentul Dub
Un alt element de eleganță și rafinament literar îl reprezintă poeziile și cântecele presărate cu grijă în text, în cele mai inspirate momente — un artificiu literar care m-a dus cu gândul la Don Quijote sau chiar la Stăpânul Inelelor.
Inelul ce mi-ai dăruit,
Pe deget nu-l mai port!
Și cum l-aș mai purta,
Dacă-l încărcai în pușca mea?
Svejk este personajul perfect construit pentru a traversa această lume absurdă. Fiecare povestire din amintirile sale se potrivește ca o piesă de puzzle în contextul prezent, generând de fiecare dată zâmbete sau hohote de râs.
Unul dintre episoadele mele preferate rămâne cel în care, încercând să găsească loc de cazare pentru camarazii săi, Svejk întâlnește un prizonier rus care se scaldă liniștit într-un lac. Ce-i vine să facă? Să-l sperie, să-i fure hainele și să experimenteze cum se simte un soldat rus în propria piele, defilând astfel pe malul lacului. Evident, lucrurile o iau razna, iar Svejk este capturat de o trupă de soldați maghiari care îl confundă cu un prizonier evadat.
Aceasta e lumea lui Švejk: o realitate în care logica banală cedează în fața absurdului și a umorului involuntar — o lume în care prostia organizată pare mai periculoasă decât războiul însuși.
September 7, 2020
Hodně nudné. Musel jsem se nutit do dočtení.
August 3, 2022
Es nesaprotu kā vispār var izdomāt tik daudz dažādus notikumus, tik daudz cilvēku vārdus un uzvārdus, kur nu vēl tik neveiklus pārpratumus...
Grāmata ir 3. un 4. turpinājums krietnā kareivja Šveika dēkām... Tikai viņš tādos apstākļos spej izdzīvot un vēl nezaudēt [veselo?] saprātu.
Grāmata ir 3. un 4. turpinājums krietnā kareivja Šveika dēkām... Tikai viņš tādos apstākļos spej izdzīvot un vēl nezaudēt [veselo?] saprātu.
February 14, 2024
DNF for me. The only book that annoyed me so much and maked me not wanted to finish it...
December 21, 2015
As my series has three separate books, I've just now finished the second book. Like the first book, this too is a wonderful read, although I have to admit that personally I thought this second part slightly less than the first book of the series.
Do get hold of an illustrated copy if you can, because the illustrations have a charm of their own and definitely add to the story.
Do get hold of an illustrated copy if you can, because the illustrations have a charm of their own and definitely add to the story.
September 21, 2024
شفيك، بطل الرواية، يبدو على السطح شخصًا ساذجًا، لكنه في الحقيقة تجسيد ذكي للشخص العادي الذي يجد نفسه محاصرًا في فوضى لا معنى لها. هو ليس بطلًا كما نتصور الأبطال في الروايات، بل هو إنسان عادي يرتدي ملابس رثة ولا يلفت الأنظار. ومع ذلك، كان له تأثير كبير عليّ. إن الطريقة التي يتعامل بها مع البيروقراطية العسكرية والمواقف العبثية التي يمر بها، جعلتني أضحك وأفكر في الوقت ذاته.
المثير للاهتمام في الكتاب هو أنه لا يقتصر على سرد مغامرات شفيك فقط، بل يعكس حالة مجتمع كامل يعيش في ظل إمبراطورية تحتضر. وعلى الرغم من المواقف الهزلية التي تبدو مضحكة في البداية، إلا أن الرواية تتعمق في نقدها اللاذع للأنظمة العسكرية والحروب التي تدمر حياة البسطاء.
أحد أكثر الجوانب التي لفتت انتباهي هو الطريقة التي يتم بها تقديم شفيك كشخص ذكي بما يكفي ليبقى على قيد الحياة وسط هذه الفوضى. الترجمة التي اخترتها كانت مليئة بالتفاصيل الدقيقة والطبقات التي أضافت عمقًا للقصة. كما أنني لاحظت أن هناك نقاشات حول الترجمة الأفضل، لكنني شعرت أن هذا الكتاب استطاع أن ينقل روح الحكاية بطريقة واضحة وسهلة الوصول.
أما بالنسبة للأحداث، فأنا أتفهم من يقول إن الكتاب قد يبدو بطيئًا في بعض الأحيان. نعم، قد تكون بعض الفصول طويلة والتكرار موجود، لكنني شخصيًا لم أجد هذا مزعجًا بل بالعكس، اعتبرته جزءًا من التجربة الفريدة التي يقدمها هاشيك. كل موقف كان يضيف بُعدًا جديدًا لشفيك ويعطينا فرصة لرؤية كيف يمكن لهذا الجندي الصغير أن ينجو من الجنون الذي حوله.
في النهاية، أعتبر هذه الرواية ليست فقط كوميدية وساخرة، بل هي نقد عميق للمجتمع والنظام العسكري الذي كان موجودًا في تلك الحقبة. شفيك بالنسبة لي لم يكن مجرد جندي ساخر في حرب عبثية، بل كان رمزًا لكل شخص عادي يحاول البقاء على قيد الحياة وسط عالم يتداعى من حوله.
قرأت الكتاب في الثاني من سبتمبر 2020، وأجريت التدقيق اللغوي في العشرين من سبتمبر 2024.
April 13, 2025
-الجندي الطيب شفيك. ياروسلاف هاشيك ⟨🇨🇿⟩:
-النوع: رواية <اجتماعية، ساخرة>.
-أهم الشخصيات: البطل شفيك.
-التعليق:
هجاء للحرب يمتد بطول ١٠٠٠ صفحة تقرييا..
من هنا، من الأدب، ندرك مدى جدوى الحرب العظمة من وجهة نظر شعوب الدول المتحاربة نفسهم، الشعب لا يدرك لماذا الحرب، لكنه يشارك بها رغمًا عنه أو لأنها "حرب" دون أدنى أهمية لمعرفة الأسباب والجدوى، حالة بائسة تستطيع بسهولة تعميمها على شعوب أوروبا ذاك الوقت. القومية والوطنية ووحدة القوميات كانت من أكبر الكذبات التي عشاتها شعوب أوروبا آن ذاك.
ينتبه فورًا أي من قرّاء الرواية أن هناك إسهاب وإسترسال في حديث المواقف والقصص لدى كل شخصيات القصة تقريبًا، أحيانًا بعيدًا حتى عن القصة الرئيسية والحبكة، وقد يُرى أن ذلك لا يخدم القصة بأي شكل -حتى أن هناك قصص ومواقف جانبية لشخصيات جانبية- من وجهة نظري المتواضعة أن المُراد من هذا كله هو نقل صورة شاملة للحالة الإجتماعية لشعوب تلك الفترة بدل من التركيز على قصة واحدة لشخصية أو عدة شخصيات والسلام. وأعتقد أن هذا هو حال جميع الكلاسيكيات الأوروبية تقريبًا، هكذا كان أُدباء أوروبا يكتبون. لكن سأكذب إن قلت أن هذا لم يؤثر على استمتاعي بالرواية ككل.
نعم للرواية مشاكل (تبرز بشدة في بعض الفصول)، لم تكن لدي مشكلة في الإسترسال عندما كان يصدر من شفيك نفسه، أما من غير شفيك كان يشوبني بعض الملل في القراءة، ففي الجزء الأول كان التركيز شبه كامل على شفيك وقصصه ومواقفه، في الجزء الثاني قل التركيز عليه وظهرت شخصيات جانبية عدة ركز عليها الكاتب، ولكن في الثالث عاد التركيز على شفيك بشكل أفضل من الثاني. لكن، رغم ذلك، كانت الرواية جميلة جدًا.
أعتقد والله أعلم -أنا الذي أعشق الأدب لكني لا أمتلك خبرة كبيرة فيه بعد- أني لن أجد شخصية تشبه شفيك في أي كتاب أدبي آخر.
-عدد الصفحات: ٣٣٦ + ٣٣٥ + ٤٣٨
-التقييم: 4/5🌑🌕🌕🌕🌕
-النوع: رواية <اجتماعية، ساخرة>.
-أهم الشخصيات: البطل شفيك.
-التعليق:
هجاء للحرب يمتد بطول ١٠٠٠ صفحة تقرييا..
من هنا، من الأدب، ندرك مدى جدوى الحرب العظمة من وجهة نظر شعوب الدول المتحاربة نفسهم، الشعب لا يدرك لماذا الحرب، لكنه يشارك بها رغمًا عنه أو لأنها "حرب" دون أدنى أهمية لمعرفة الأسباب والجدوى، حالة بائسة تستطيع بسهولة تعميمها على شعوب أوروبا ذاك الوقت. القومية والوطنية ووحدة القوميات كانت من أكبر الكذبات التي عشاتها شعوب أوروبا آن ذاك.
ينتبه فورًا أي من قرّاء الرواية أن هناك إسهاب وإسترسال في حديث المواقف والقصص لدى كل شخصيات القصة تقريبًا، أحيانًا بعيدًا حتى عن القصة الرئيسية والحبكة، وقد يُرى أن ذلك لا يخدم القصة بأي شكل -حتى أن هناك قصص ومواقف جانبية لشخصيات جانبية- من وجهة نظري المتواضعة أن المُراد من هذا كله هو نقل صورة شاملة للحالة الإجتماعية لشعوب تلك الفترة بدل من التركيز على قصة واحدة لشخصية أو عدة شخصيات والسلام. وأعتقد أن هذا هو حال جميع الكلاسيكيات الأوروبية تقريبًا، هكذا كان أُدباء أوروبا يكتبون. لكن سأكذب إن قلت أن هذا لم يؤثر على استمتاعي بالرواية ككل.
نعم للرواية مشاكل (تبرز بشدة في بعض الفصول)، لم تكن لدي مشكلة في الإسترسال عندما كان يصدر من شفيك نفسه، أما من غير شفيك كان يشوبني بعض الملل في القراءة، ففي الجزء الأول كان التركيز شبه كامل على شفيك وقصصه ومواقفه، في الجزء الثاني قل التركيز عليه وظهرت شخصيات جانبية عدة ركز عليها الكاتب، ولكن في الثالث عاد التركيز على شفيك بشكل أفضل من الثاني. لكن، رغم ذلك، كانت الرواية جميلة جدًا.
أعتقد والله أعلم -أنا الذي أعشق الأدب لكني لا أمتلك خبرة كبيرة فيه بعد- أني لن أجد شخصية تشبه شفيك في أي كتاب أدبي آخر.
-عدد الصفحات: ٣٣٦ + ٣٣٥ + ٤٣٨
-التقييم: 4/5🌑🌕🌕🌕🌕
November 28, 2023
I loved book 1 of this rip-roaring, satirical take on WWI written by a Czech nationalist but expressing a universal skepticism of war, politics, empire, and armies. So I downloaded book II as soon as I finished the first volume. But, whereas book 1 was so lively, fresh, and L-O–L funny, book II felt plodding and tedious. Svejk continues to be the naive, go-where-life-takes-him character, who can entertain (or annoy) folks by telling a tale in any situation. But some of these anecdotes would go on for pages and pages without advancing the plot at all. So if you are a serious student of life during wartime in the waning days of the Hapsburg Empire, you might find plenty to keep you interested. Otherwise, you might find that the first book was enough.
Many folks have mentioned Catch-22 as an analog to this novel. However, it dawned on me at one point that Svejk is also a close cousin to Inspector Clouseau in how he can drive his superiors into fits of hysterical anger. Despite what I said above, this novel is wonderful in how it predicts a whole slew of 20th-century anti-war literature and films -- not only Catch-22, but MASH, Slaughterhouse 5, and many more.
Many folks have mentioned Catch-22 as an analog to this novel. However, it dawned on me at one point that Svejk is also a close cousin to Inspector Clouseau in how he can drive his superiors into fits of hysterical anger. Despite what I said above, this novel is wonderful in how it predicts a whole slew of 20th-century anti-war literature and films -- not only Catch-22, but MASH, Slaughterhouse 5, and many more.
February 20, 2021
رواية : الجندي الطيب شفيك " الكتاب الثاني:"
الكاتب : ياروسلاف هاشيك
عدد الصفحات: 320
التقييم :3 / 5
الرواية عبارة عن رحلة مع الجندي شفيك خلال مشاركته في الحرب العالمية ، وهذا هو الكتاب الثاني من ثلاثة كتب
بعيدًا عن القتلى والجرحى أراد هاشيك أن يحدثنا عن أبطال "مجهولين و بسطاء" , لا يتمتعون بمجد نابليون , "لكن إذا عرفتهم عن قرب ستجدهم يتفوقون حتى على الاسكندر الاكبر "
يتناول الكتاب الحرب من جانبها الكوميدي مستعينًا بجندي ساذج يدعى شفيك، إنسان يرتدي ملابسا رثة, لا يزعج أحدا و لا يلاحقه الصحفيون من أجل مقابلة , إذا سألته عن اسمه سيجيبك بكل بساطة "شيفيك" .. هكذا نتعرف على شيفيك ، إنه جندي تشيكي في جيش الإمبراطورية النمساوية المجرية , جندي من ملايين الجنود الذين قتلوا بعضهم بعضا خلال الحرب العالمية الأولى
وكما في وصف لكتاب انت بالفعل لن تجد تقييمًا مناسب للرواية، بالنسبة للرواية بشكل عام وهذا الجزء بالاخص قد تكون المشكلة ان القراءة مملة، الاحداث بطيئة ومكررة لن تنتهي منها الا على فترات كما فعلت .
الكاتب : ياروسلاف هاشيك
عدد الصفحات: 320
التقييم :3 / 5
الرواية عبارة عن رحلة مع الجندي شفيك خلال مشاركته في الحرب العالمية ، وهذا هو الكتاب الثاني من ثلاثة كتب
بعيدًا عن القتلى والجرحى أراد هاشيك أن يحدثنا عن أبطال "مجهولين و بسطاء" , لا يتمتعون بمجد نابليون , "لكن إذا عرفتهم عن قرب ستجدهم يتفوقون حتى على الاسكندر الاكبر "
يتناول الكتاب الحرب من جانبها الكوميدي مستعينًا بجندي ساذج يدعى شفيك، إنسان يرتدي ملابسا رثة, لا يزعج أحدا و لا يلاحقه الصحفيون من أجل مقابلة , إذا سألته عن اسمه سيجيبك بكل بساطة "شيفيك" .. هكذا نتعرف على شيفيك ، إنه جندي تشيكي في جيش الإمبراطورية النمساوية المجرية , جندي من ملايين الجنود الذين قتلوا بعضهم بعضا خلال الحرب العالمية الأولى
وكما في وصف لكتاب انت بالفعل لن تجد تقييمًا مناسب للرواية، بالنسبة للرواية بشكل عام وهذا الجزء بالاخص قد تكون المشكلة ان القراءة مملة، الاحداث بطيئة ومكررة لن تنتهي منها الا على فترات كما فعلت .
September 16, 2018
حين اندلعت الحرب من أجل هيلين (حيث الأوديسة) أو من أجل الوطن (كما تولستوي) كان للحرب معنى معقول تماما. أما شفييك ورفاقه فيتوجه ن إلى الجبهة دون أن يعرفوا الدافع إلى هذا التوجه، وما يصدم أكثر هو أنهم يتوجهون إليها دون أن يُولوا اهتماما لذلك.
September 24, 2019
For when you want to read 894 pages only to find that the author died before finishing the story... Cock it.
That said, I had heard the Czech and British sense of humour is similar and this confirms it. A cracking read. Easy to peel off a hundred pages at a time of brilliant and hilarious satire.
That said, I had heard the Czech and British sense of humour is similar and this confirms it. A cracking read. Easy to peel off a hundred pages at a time of brilliant and hilarious satire.
November 29, 2023
Druhý díl Švejka sice neurazí, ale rozhodně nenadchne tak jako první. Ačkoliv satirické vykreslení historické společnosti se zatím neomrzelo, samo o sobě mě nepřesvědčilo, abych si vyslechl více Švejkových historek v dalších dílech.
July 15, 2018
Slabší než 1. díl, dočetl jsem jen ze setrvačnosti...
February 15, 2019
كم أنت رائع أيّها الجندي الطيب شفيك!
November 8, 2021
Masterpiece
Currently reading
December 15, 2021Me encantó el principio, pero luego es un poco repetitivo. Lo dejé tras leer unas cuantas historias.
May 10, 2022
Vol. 2
Aan het Front.
Aan het Front.
September 26, 2023
Ediție frumos realizată!
October 30, 2023
Oproti první knížce, u které jsem se i hlasitě smála, je to slabší odvar :)
November 15, 2023
Zábavné momenty jsou často vykoupeny dlouhými pasazemi o ničem.
April 13, 2024
👍👍👍
Čteno kvůli práci na VŠ
Jedna z lepších knih povinné četby
(Jednička mě bavila víc)
Čteno kvůli práci na VŠ
Jedna z lepších knih povinné četby
(Jednička mě bavila víc)
May 17, 2024
Cu 400 de pagini mai scurta si era 5/5
April 14, 2025
امتداد للجزء الثاني وإن كان هذا الجزء يتخلله كثيرًا من (المط والحشو) الممل، لكنه بشكل عام مليئ بالإسقاطات الساخرة (الواقعية)!
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