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Marie Under (27 March [O.S. 15 March] 1883 – 25 September 1980) was an Estonian poet. She was nominated for the Nobel Prize in Literature in 14 separate years.[1][2][3][4][5]

Key Information

Early life

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Marie Under was born on 27 March 1883[6] in Reval (Tallinn), Estonia to school teachers Friedrich (1843–1930) and Leena Under (née Kerner) (1854–1934). She had two older siblings, Evangeline (1880–1932?) and Gottried (1881–1882) and two younger, Berta (1885–1974), and Christfried (1887–1934). She attended a private German-language girls' school. After graduating, she worked as a salesclerk in a bookstore. In her free time, she wrote poetry in German. In 1902, she married an Estonian accountant, Carl Hacker. The couple had two children, Dagmar and Hedda, while living in Kuchino, a suburb of Moscow, Russia. However, in 1904, she fell in love with the Estonian artist Ants Laikmaa. Laikmaa convinced her to translate her poetry into Estonian and submitted her translated works to local newspapers.

Portrait of Marie Under by Estonian artist Ants Laikmaa in 1904

Return to Estonia

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In 1904, under the pseudonym Mutti, Under had her first poem published in the newspaper Postimees.

In 1906, Under returned to Tallinn. In 1913, she met Artur Adson, who became her secretary. He also compiled the first volumes of her published poetry. In 1924, Under divorced Carl Hacker and married Adson.

In May 1917, Under was one of the writers who formed the influential Siuru literary group with Adson, Friedebert Tuglas, August Gailit, Henrik Visnapuu, and later Johannes Semper. Under was the only woman of the group, where she was known as Printsess, in line with the nicknames given to each member. She was appointed the group's chairman, knowingly taking on a masculine title.[7] The group was named after a fire-bird in Finnic mythology, and it was an expressionistic and neo-romantic movement that ran counter to the Young Estonia formalist tradition. Between 1917 and 1919, the group of poets published three volumes of poetry. In 1919, conflicts within the group led Visnapuu and Gailit to leave, while Johannes Vares and August Alle joined as new members.[8][9]

Under published her first collection of poetry in 1917, shortly after forming Siuru, and a second edition was printed before the year's end.[7] She then gained wider recognition, marking her entry into the literary scene. Notably, her work included explicit erotic poems, a departure from prevailing norms, which garnered attention and inspired subsequent writers. [10]

Under was one of the founders of Estonian Writers' Union in 1922.[11]

In the 1920s, Under was a frequent visitor at the house of Igor Severyanin, a Russian poet, in the village of Toila, where she often was on holiday. Severyanin published a book of translations from Under.[12] Severyanin did not speak Estonian and used word-by-word translations as a basis.[13]

Life in exile

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During World War II, Under and her family fled to Sweden in September 1944 to escape from the Soviet invasion and reoccupation of Estonia. They spent almost a year in a refugee camp until, in 1945, the family moved on to Mälarhöjden, a suburb of Stockholm, Sweden. Under lived there until her death on 25 September 1980. She was buried in the Skogskyrkogården cemetery in Stockholm. In January 2015, it was announced that she was to be reburied in Estonia.[11] On 9 June 2016, Under and Adson were interred at Rahumäe Cemetery in Tallinn alongside her daughter Hedda Hacker and sister Berta.[14]

Translations

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Under's work was translated into at least 26 languages. She is one of the best translated Estonian authors.[15]

Style

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The ocean's mysteries were a common theme in Under's poetry. Having grown up as the symbolism movement was ending, Under was one of the European poets who rejected symbolism in favor of more tangible concepts. Her early poetry was specifically about sensory ideas and how things appear in the physical world. Her poetry shifted to existential concepts of isolation and death by 1920. A change in tone developed in the late 1920s as she shifted again to appreciation and concern for life and wellbeing rather than simple despair knowing that they shall end. With this shift came a greater willingness to use symbolism and metaphor in her poetry.[6] Her influences included the Bible, William Shakespeare, Johann Wolfgang von Goethe, Fyodor Dostoevsky, and traditional folk legends.[6]

Poetry collections

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  • 1917 – Sonetid (Sonnets)
  • 1918 – Eelõitseng (Early Flowering)
  • 1918 – Sinine puri (Blue Sail)
  • 1920 – Verivalla (A Flowing of Blood)
  • 1923 – Pärisosa (Heritage)
  • 1927 – Hääl varjust (Voice From the Shadows)
  • 1928 – Rõõm ühest ilusast päevast (The Joys of a Beautiful Day)
  • 1929 – Õnnevarjutus (Eclipse of Happiness)
  • 1930 – Lageda taeva all (Under the Open Sky)
  • 1935 – Kivi südamelt (Stone of the Heart)
  • 1942 – Mureliku suuga (With an Anxious Mouth)
  • 1954 – Sädemed tuhas (Sparks in the Ashes)
  • 1963 – Ääremail (Borderlands)
  • 1981 – Mu süda laulab (My Heart Sings)
[edit]
  • "Portrait of Marie Under" (1904), by Ants Laikmaa
    "Portrait of Marie Under" (1904), by Ants Laikmaa
  • Members of the Estonian Siuru literary circle in 1917, rear: Peet Aren, Otto Krusten, and Johannes Semper. front row: Friedebert Tuglas, Artur Adson, Marie Under, August Gailit, and Henrik Visnapuu
    Members of the Estonian Siuru literary circle in 1917, rear: Peet Aren, Otto Krusten, and Johannes Semper. front row: Friedebert Tuglas, Artur Adson, Marie Under, August Gailit, and Henrik Visnapuu
  • "Monument to Marie Under", created by Mati Karmin and Tiit Trummal, unveiled in 2010 in front of the National Library of Estonia in Tallinn
    "Monument to Marie Under", created by Mati Karmin and Tiit Trummal, unveiled in 2010 in front of the National Library of Estonia in Tallinn
  • Rosa 'Marie Under', a rose cultivar created by Aune Mark, Kärt Soans and Lea Eermann in 2007 and named in Under's honor
    Rosa 'Marie Under', a rose cultivar created by Aune Mark, Kärt Soans and Lea Eermann in 2007 and named in Under's honor

References

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Marie Under

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Marie Under is an Estonian poet widely regarded as one of the greatest and most influential figures in 20th-century Estonian literature, celebrated for her sensual neoromantic love lyrics, stylistic evolution, and role in modernizing Estonian poetry. Her works, spanning classical forms to expressionist and metaphysical expressions, made her a central member of the Siuru literary group and a symbol of Estonian cultural spirit, particularly during her exile. Born in 1883 in Tallinn to a schoolteacher's religious family, Under initially wrote in German and attended a private German-language school before marrying and briefly living in Moscow from 1902. Returning to Estonia in 1906, she began publishing poems in newspapers and debuted with her first collection Sonnets in 1917, quickly gaining recognition for her open eroticism and joyful impressionism. Her association with poet Artur Adson, whom she later married, and participation in Siuru during Estonia's War of Independence marked her early prominence in breaking traditional poetic boundaries. Under's poetry underwent significant transformations: shifting toward themes of death and realism around 1920, influenced by German expressionism, then to simpler pantheistic tenderness and folk-inspired ballads. Fleeing Soviet occupation in 1944, she lived in exile in Sweden until her death in Stockholm in 1980, where her work grew more philosophical, visionary, and concerned with homeland longing. Banned in Soviet Estonia for decades, her poetry remained a powerful emblem of national identity, and she was nominated multiple times for the Nobel Prize in Literature while becoming one of Estonia's most translated poets.

Early life

Birth and family background

Marie Under was born on 27 March 1883 (Old Style 15 March) in the city of Reval, now known as Tallinn, in the Governorate of Estonia within the Russian Empire. She was the daughter of a schoolteacher father and a homemaker mother, growing up in a religious household that emphasized moral and educational values. Her father originated from the Estonian island of Hiiumaa, reflecting the family's roots in the Estonian countryside despite their urban residence in Reval. The family home in Reval provided an environment shaped by the cultural and administrative constraints of Russian imperial rule, where Estonian language and identity were often subordinated to Russification policies and German influences in education and society. As part of a modest, educated middle-class family, Marie Under was positioned among siblings in a setting that valued learning and piety from an early age. This background in late 19th-century Reval laid the foundation for her Estonian roots amid the multinational dynamics of the empire.

Childhood and early education

Marie Under spent her childhood in Tallinn, growing up in the household of her father, a schoolteacher, and her mother. She learned to read at the age of four, demonstrating an early engagement with language and texts. From 1891 to 1900, Under attended a private German-language school in Tallinn, where she studied German, French, and Russian. This multilingual curriculum exposed her to diverse linguistic traditions, with German being the primary medium of instruction due to the school's orientation and the cultural context of Estonia at the time. The German-language environment provided her with foundational access to German literature and thought, which later proved influential in her own work as a translator. During her school years and youth, Under developed a strong interest in poetry, beginning to compose verses in German as a student. This early creative engagement reflected her growing affinity for poetic expression amid her formal education.

Entry into literary circles

First poems and publications

Marie Under's first known poem appeared in print in 1904, when it was published in the Estonian newspaper Postimees under the pseudonym Mutti. This marked her earliest venture into public literary expression, following a period of private composition in German during her youth. After returning to Estonia from Moscow in 1906, Under began publishing poems more consistently in Estonian newspapers and periodicals, contributing to her gradual emergence within local literary circles. These early newspaper appearances represented her transition from amateur writing to a more visible presence in Estonian literature, though they remained occasional and under pseudonyms or without widespread acclaim at the time. Her pre-1917 publications were limited to these periodical contributions, laying the groundwork for her later recognition without yet achieving broad attention.

Marriage and personal life influences

Marie Under married accountant Carl Hacker in 1902 and relocated with him to Kuchino, a suburb near Moscow, where she gave birth to their two daughters, Dagmar and Hedda. The couple returned to Estonia in 1906 after several years in Russia. The marriage proved unhappy, and during a vacation in Estonia around 1904, Under began an affair with the artist Ants Laikmaa, who painted several portraits of her and played a pivotal role in her literary development. Laikmaa convinced her to translate her early German-language poems into Estonian and facilitated the publication of her first poem in the newspaper Postimees under the pseudonym "Mutti" at age 21. This relationship marked a decisive shift, encouraging her to write and publish in her native language rather than German. In 1913, Under met poet Artur Adson, who became her close literary supporter, serving as her secretary and helping compile and promote her early collections. After a prolonged and complicated divorce from Hacker in 1924, she married Adson, whose encouragement and partnership provided ongoing stability and inspiration for her writing. Under's early poetry reflected these personal experiences through its bold, sensual celebration of erotic love and youthful passion, evident in her debut collection Sonetid (1917) as a declaration of longing for beauty and joy, and in the highly sensual Sinine puri (1920), which defied conventional norms with its open eroticism. These themes drew from her encounters with love and relationships, contributing to her reputation as a leading figure in Estonian neoromanticism.

Siuru group and early career

Founding and role in Siuru

The Siuru literary group was founded in May 1917 during a period of political liberation and cultural renewal in Estonia following the Russian Revolution. Named after the mythical blue bird Siuru from the Estonian national epic Kalevipoeg, the group emerged in the spirit of European modernity and quickly became a hub for bold, bohemian literary activity. Its original members were Friedebert Tuglas, Henrik Visnapuu, August Gailit, Marie Under, and Artur Adson, with Johannes Semper joining later that summer. Marie Under occupied a central and leading position in Siuru as its only female member and was appointed chairman, a title chosen with intentional irony. Known within the group as "Princess" (while Friedebert Tuglas was called "Prince" and Artur Adson her "Page"), she exerted significant influence on its direction and dynamics. Her prominence helped shape Siuru into a collaborative circle that challenged conventional literary norms through shared performances, events, and a puckish, spirited approach to writing and social life. Siuru promoted expressionist and modernist aims, advocating for new movements such as expressionism and futurism while emphasizing the freedom of the human spirit, creative liberty, and joyful, challenging impressionist love poetry. The group rejected earlier formalist traditions in favor of bold, erotic, and emotionally intense works that reflected a neo-romantic sensibility and shifted away from dominant patriotic and nationalist paradigms.

Debut collections and expressionist phase

Marie Under's debut collection, Sonetid (Sonnets), appeared in 1917 and introduced her as a bold voice in Estonian literature through its frank love sonnets that openly celebrated eroticism and sensual pleasure. The poems emphasized vivid sensory details—light, colors, motion, sounds, smells, and touch—drawing from concrete experiences and conveying an immediate, heartfelt joy in physicality. This sensuality, unconventional for the period, shocked many readers and sparked scandal due to its explicit erotic content, yet it also established Under as a prominent figure. She followed with Eeloitseng (Budding) and Sinine puri (Blue Sail) in 1918, which sustained the neoromantic emphasis on erotic love and impressionist tendencies associated with the Siuru group. These early works liberated Estonian literary audiences from the lingering depression of World War I, inspiring a generation through their courageous and joyful exploration of sensuality. After World War I, German expressionist poetry exerted a significant influence on Under, infusing her writing with greater intensity, powerful imagery, and liveliness. By 1920, her poetry shifted markedly, as seen in Verivalla (A Flowing of Blood), toward themes of death, human tragedy, suffering, and calls for justice, incorporating realistic urban scenes that contrasted with her earlier focus on life's beautiful growth. This transition marked the onset of her expressionist phase, blending heightened emotional force with profound existential concerns.

Mature poetry and interwar period

Major collections from 1920s–1930s

Marie Under's interwar period in independent Estonia represented the height of her creative productivity and critical acclaim, as she published a series of major poetry collections that demonstrated a clear evolution from her earlier expressionist phase toward more introspective, philosophical, and existential concerns. Her mature works increasingly explored the tension between human aspirations for happiness and the oppressive forces of spiritual, social, and existential realities, often alternating between surges of joy and profound anxiety or dark meditation. Following the expressionist-influenced Verivalla (Bloodletting, 1920), which addressed war and human degradation, Under produced Pärisosa (Heritage, 1923), Hääl varjust (Voice from the Shadows, 1927)—where euphoric joy intertwines with neurotic anxiety and metaphysical generalization of imagery becomes prominent—and Rõõm ühest ilusast päevast (The Joys of a Beautiful Day, 1928), continuing the oscillation between ecstasy and unease. The 1929 collection Õnnevarjutus (The Eclipse of Happiness) stands as one of her central achievements and is regarded as a pinnacle of European ballad art, drawing on myths, legends, and personal experience to create overpoweringly rich imagery and dynamic tropes; structured like a church ground plan around ten tales of unhappy love and destruction, it offers only limited escape through the Biblical-themed poem Tuudaimimarjad (Mandrakes). Subsequent volumes deepened this confessional and philosophical direction: Lageda taeva all (Under an Open Sky, 1930) features intensified reflection on life's dark side contrasted with moments of joy, while Kivi südamelt (Stone off the Heart, 1935)—her tenth collection—further emphasizes existential weight through visions of frozen elements, chained forces, and brief flashes of vitality overshadowed by inevitable doom. These works cemented Under's peak recognition within the Estonian literary scene, highlighted by her election as an honorary member of the Estonian Literary Society in 1932.

Evolution of themes and style

Marie Under's poetry underwent a profound evolution in themes and style during her pre-exile career, shifting from exuberant sensuality to darker introspection while retaining certain recurring motifs. Her early collections emphasized erotic love, joy of life, and a sensual engagement with nature, often expressed through direct, vigorous language and synaesthetic imagery that combined restricted meter with spontaneous freedom. These works celebrated physical desire and natural beauty with bold immediacy, establishing her as a leading voice in Estonian neoromanticism. Love appeared as youthful and passionate, while nature served as a vibrant backdrop infused with pantheistic closeness and the eternal cycle of life, birth, and rebirth. Around 1920, influenced by German Expressionism, World War I's aftermath, and harsh public criticism of her sensuality, Under's poetry turned markedly pessimistic and socially critical. She adopted longer lines of free verse and prose-like intonation to explore themes of war, human degradation, mortality, and suffering, with death emerging as a dominant force overshadowing earlier vitality. Sensuality persisted but grew intertwined with anxiety and neurotic tension, while love motifs shifted toward tragedy and loss. This expressionist phase featured tormented visions, religious imagery of pain and delirium, and a heightened sense of existential responsibility, often rendered through original metaphors, dynamic rhythms, and multisensory details encompassing color, sound, touch, and smell. In her mature interwar period, Under deepened introspective and confessional elements, alternating surges of joy with awareness of life's darker aspects, transience, and oppression. She revived ballad forms infused with mythic and folk motifs to examine the conflict between human aspirations for happiness, fertility, and love against inevitable doom, spiritual severance, and generational suffering. Linguistic innovations continued through surprising metaphors, original rhymes, and powerful tropic arsenals that generalized imagery toward metaphysical concerns, maintaining a distinctive dynamism from ecstatic heights to profound shadows. Nature remained a recurring motif, often symbolizing both renewal and inevitable decay, while mortality underscored the fragility of all joy.

Exile during and after World War II

Impact of Soviet occupation

The Soviet occupation of Estonia from June 1940 to July 1941 profoundly disrupted Marie Under's literary environment and prompted a shift in her poetic expression. During this period, she began composing brave and patriotic poems that conveyed deep compassion for those suffering from mass deportations and wartime hardships, articulating the collective grief of the Estonian people. These works resonated widely, establishing her as a symbol of the nation's conscience and giving voice to its deepest sorrows and feelings of resistance. Her poetry from this era captured the pervasive atmosphere of suffering and fear under Soviet rule. In "Christmas Greetings 1941," she evoked the universal mourning across Estonian households, with lines describing silent paths through a suffering homeland and the pain of families torn apart by deportations. Similarly, "Denunciation" portrayed a land gripped by fear, gallows, and mass graves, decrying the indifference of the outside world to cries for help. These poems, later published in collections such as Jõulutervitus (1941) and Mureliku suuga (1942), reflected the direct emotional toll of the occupation even as they were issued during the subsequent German period. The looming reoccupation by Soviet forces in 1944 presented an existential threat that influenced Under's personal circumstances. Like many other prominent Estonian writers of the older and middle generations, she chose emigration over remaining under renewed Soviet control as the Red Army approached in September 1944. This decision stemmed from the anticipated return of conditions that had already inspired her resistant poetry and the broader suppression faced by Estonian intellectuals during the initial occupation.

Escape to Sweden and life in exile

As the Soviet Red Army reoccupied Estonia in 1944, Marie Under and her family fled the country to escape the new wave of Soviet rule. They departed from Tallinn in September 1944, enduring a hazardous journey across the Baltic Sea before reaching safety in Sweden. The family arrived in Sweden and settled in Stockholm, where Under would spend the remaining three decades of her life in exile. After arrival, she worked as an archivist at the Stockholm Theatre Museum from 1945 to 1957. In the Swedish capital, she later lived in modest circumstances amid the Estonian émigré community, which provided some social and cultural support in an otherwise foreign environment. Exile brought significant challenges, including the difficulty of adapting to a new language and society after decades of prominence in Estonia, as well as a profound sense of isolation from her homeland and native readership. Financial hardships and the emotional toll of displacement further marked her years in Stockholm, though she maintained connections within the expatriate literary circles.

Later works and final years

Post-exile poetry

After her escape to Sweden in 1944, Marie Under continued to write poetry in exile, though her output was limited to two major collections over the subsequent decades. Her first exile volume, Sädemed tuhas (Sparkles in Ash), appeared in 1954 as her twelfth collection overall, followed by her thirteenth and final original collection, Ääremail (On the Borderlands), in 1963. These late works represented new breakthroughs in her oeuvre, shifting toward philosophical observations of life and nature alongside suggestively powerful metaphysical and visionary introspections. Themes of longing for the homeland, rootlessness, and homesickness permeated her exile poetry, often expressed indirectly without naming Estonia explicitly. This period's verse also conveyed a humane patriotism that transcended national and political boundaries, while contributing to the vitality of Estonian émigré literature amid displacement. Despite the trauma of flight and the resulting depression, Under persisted in articulating the collective suffering and national tragedy of the Estonian people, serving as a voice of conscience for refugees and those who remained under occupation.

Death and immediate aftermath

Marie Under died on 25 September 1980 in Stockholm, Sweden, at the age of 97. Due to severe arthritis, she had spent her final years at the Vårberg Convalescent Care Hospital in Stockholm. Her funeral in Stockholm was attended by hundreds of mourners, primarily from the Estonian exile community. She was originally buried at Skogskyrkogården (Forest Cemetery) in Stockholm, but her remains were reburied on 9 June 2016 at Rahumäe Cemetery in Tallinn, Estonia, alongside her husband Artur Adson, daughter Hedda Hacker, and sister Berta Under. In Soviet-occupied Estonia, official recognition of her death was limited or absent due to her status as an exile poet, though her passing was mourned privately among literary circles aware of her work. The immediate aftermath centered on the Stockholm funeral as the main public commemoration in the diaspora.

Legacy and recognition

Influence on Estonian literature

Marie Under is widely regarded as one of the most influential and beloved Estonian poets of the 20th century, with her work securing a unique and central position in the history of Estonian literature. Literary scholars have described her as the "Estonian Goethe," underscoring her role in embodying and uniting the community spirit of the Estonian nation in a manner comparable to Goethe's cultural significance for Germans. Her poems have become established classics of Estonian poetry, and for much of her exile she was perceived in Estonia as a "holy myth – almost a mythical saint," serving as a natural symbol of national identity and resilience. Under radically transformed Estonian poetic tradition multiple times through her evolving styles and themes. As a central figure in the Siuru literary group, she broke from the dominant patriotic-national paradigm of earlier Estonian poetry, instead emphasizing spiritual freedom, creative joy, and impressionistic love poetry amid the War of Independence. Her early collections introduced explicit erotic and sensual love poetry that shocked and liberated Estonian literature, inspiring an entire generation of poets and helping to alleviate the collective depression following the First World War. Subsequent shifts in her work—from the dominance of death and realistic urban imagery, to German expressionist intensity, pantheistic tenderness, and folk-infused ballads with grotesque and tragic elements—further expanded the expressive range of Estonian verse. During national crises, including the Soviet occupations, Under's patriotic and compassionate poetry articulated the deepest sorrows and sufferings of the Estonian people, establishing her as the nation's conscience and deepening her mythical status. The banning of her work in Soviet Estonia only amplified her cultural significance, enhancing the nation's love for her poetry and reinforcing her position as a symbol of resistance and enduring Estonian identity. Her overwhelming impact endures in Estonian literary consciousness, where she remains revered as a foundational figure whose innovations and voice continue to resonate across generations.

International translations and reception

Marie Under's poetry has been translated into at least 26 languages, making her one of the most widely translated Estonian poets. Full collections of her work appeared in book form in 13 languages, beginning with an Esperanto edition in 1929 and including early translations into Russian in 1935 and 1937, German in 1949, and English in 1955. Postwar and exile periods saw further translations, notably in Swedish with editions in 1963, 1970, 1988, and 2007; Finnish in 1978 and 1983; French in 1970; Italian in 1971; Norwegian in 2004; Czech in 2003; and several Uralic languages such as Udmurt in 2006, Mari in 2006, and Komi in 2008. Her work found particular resonance in Scandinavia, where she spent her exile in Sweden and where multiple Swedish translations reflected sustained interest in her poetry among readers in her adopted country. Recognition in neighboring Finland included honorary membership in the Finnish Writers Union in 1963, alongside translations of her collections there. Individual poems also appeared in German (53 by 1974), English (51), Finnish (46), Hungarian (44), and other languages, often in anthologies or periodicals, indicating broader but selective international circulation. While her poetry achieved some presence in international literary circles, including through appearances in reference works and honorary memberships such as in the Bavarian Academy of Arts in 1964, broader reception in major languages like English remained limited until later efforts to produce more comprehensive translations. Posthumous interest continued with new editions and translations in the late 20th and early 21st centuries, sustaining attention to her work outside Estonia.

Nobel Prize nominations

Marie Under was nominated for the Nobel Prize in Literature on 14 separate occasions. ) These nominations spanned the period from 1945 to 1974, reflecting sustained international interest in her poetry during her years in exile. The Nobel Foundation's nomination archive records specific instances of her candidacy, including nominations in 1945, shortly after World War II ended. She received further nominations in 1949 and 1950. Additional nominations are documented for 1968, 1973 (with multiple entries in that year), and 1974. Under's repeated nominations underscore the recognition of her expressive and modernist style among literary scholars and qualified nominators eligible under Nobel statutes, though she did not receive the award in any of those years. The nominations ceased after 1974, prior to her death in 1980.

Media adaptations

Surmamõrsjad (1990) and other references

Surmamõrsjad (Brides of Death), a 1990 short puppet animated film directed by Tauno Kivihall and produced by Tallinnfilm, adapts a ballad of the same name by Marie Under. Running 9 minutes and 22 seconds, the wordless work features a screenplay by Paul-Eerik Rummo and original music by composer Lepo Sumera. It presents a tragical-lyrical narrative about brides who drown themselves in a swamp after enemies kill their fiancés and devastate their land, using a controversial sequence that ends with a symbolic resurrection through reunion in the finale. The film's desaturated palette, emphasis on light and shadow, close-ups, and long takes underscore themes of suicide, despair, hopelessness, and trauma. Marie Under receives credit as the writer of the adapted ballad, marking her only known film credit. This adaptation stands as the primary documented media use of her poetry. No other major film, television, or theatrical adaptations of her works appear in available records.

Cultural depictions

Marie Under has been commemorated through public memorials in Estonia following the restoration of independence. A prominent marble statue of the poet, created by sculptor Mati Karmin, stands in Tõnismägi, Tallinn, unveiled in 2010. The monument features Under in a standing pose, with a wall behind inscribed with her name, lifespan (1883–1980), and a poetic excerpt from 1953: "kõndind nii keerukaid radu elus, ses imetaolises paigas, seisatan nüüd ja vaatlen… vaatlen end nägijaks. ja mõni poolelijäänud mõte kukub ajust südame ning küpseb sääl." This tribute recognizes her status as one of Estonia's greatest poets despite her long exile in Sweden. No major biographical films, plays, or dramatic portrayals of Under's life are known beyond archival footage of her actual appearances at milestone celebrations in exile, such as newsreels marking her 70th and 75th birthdays in Stockholm.

References

  1. https://estlit.ee/person/343
  2. https://www.estlit.ee/writers
  3. https://sisu.ut.ee/ewod/u/under/
  4. https://authorscalendar.info/under.htm
  5. http://leht.se/eescirkel2023/Marie_Under_3.html
  6. https://mypoeticside.com/poets/marie-under-poems
  7. https://kids.kiddle.co/Marie_Under
  8. http://elm.estinst.ee/featured-writers/siuru-in-the-winds-of-freedom/
  9. https://www.utkk.ee/en/exhibitions/exhibition-to-celebrate-the-100th-anniversary-of-the-literary-group-siuru/
  10. https://estonianworld.com/culture/a-mission-to-translate-marie-under-estonias-most-influential-poet-into-english/
  11. https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/under-marie-1883-1980
  12. https://thecoachellareview.com/2019/03/19/tcr-talks-with-sirje-kiin/
  13. https://estonianworld.com/culture/six-poems-estonian-poet-marie/
  14. http://leht.se/eescirkel2023/Marie_Under_4.html
  15. https://news.err.ee/120309/copyrights-to-works-of-estonian-poets-under-adson-in-german-hands
  16. http://www.old.lituanus.org/1983_3/83_3_05.htm
  17. https://floridaestos.blog/wp-content/uploads/2012/01/marie-under-nobel-sirje-kiin.pdf
  18. https://www.nobelprize.org/nomination/archive/show.php?id=3506
  19. https://www.nobelprize.org/nomination/archive/country-people.php?country=67&person=nominee
  20. https://www.nobelprize.org/nomination/archive/show.php?id=20401
  21. https://www.nobelprize.org/nomination/archive/show.php?id=23151
  22. https://www.nobelprize.org/nomination/archive/show.php?id=24025
  23. https://www.nobelprize.org/nomination/archive/show.php?id=23152
  24. https://efis.ee/en/film/6247
  25. https://www.imdb.com/name/nm1923896/
  26. https://www.vanderkrogt.net/statues/object.php?webpage=ST&record=ee001
  27. https://www.efis.ee/en/film/18756
  28. https://www.efis.ee/en/film/11246
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