Books on Beelzebub's Tales by Ted Lebar

About the author

Mr. Theodor Lebar, or just Ted to his friends and acquaintances, was born in former Yugoslavia, now an independent country, The Republic of Slovenija.


          Born into a large, mostly musical family. My father played several instruments, drawing 12 children into music to various degrees, but, the 3, including myself, became professionals. I had no particular inclination toward any particular instrument. Anything would do, as long as it made a sound. Instruments like Tamburitsas of several sizes were available at all times. These were types of instruments like Russian Balalaikas and Italian Mandolins. A little later I developed the preference for smallest of these instruments, so small that my dad put a leather strap on it and it fit around my neck, at age of one and a half years. I remember going toward my neighbor’s house with this instrument hanging around my neck and shoulder, and singing some song. Must have been my latest composition. Toward me was walking my neighbor and dad’s friend. He greeted me with: “O, that’s great music...and, where are you going?"

 

I answered that I was going into the clouds to play. He exploded into laughter and kept going toward my house to my father. I continued with my song. When I returned back home, my dad and his friend were still laughing. The friend asked my father: “Where does he get this stuff”? Well, my father had no more of an idea than I did.

 

Time passed. The next major event in my life was when I saw a piano keyboard for the first time in my life, in the spring of 1945. For one year we moved to Eastern Yugoslavia, close to the Romanian border. The house we were assigned had a huge black thing in it, almost occupying the whole room. I was staring at it. My father said, “go and play it”. I went and sat down at the grand piano. Black and white keys right across.  I was awestruck by it. Then I felt my hands lift up and touch the keyboard. Suddenly, both hands started playing a kind of a folk-waltz. Without ever having seen the keyboard before, my hands felt at ease, as the fingers moved with comfort and skill, playing this folk-waltz. The schools were not open at that time in Serbia because there were no teachers.  We kids were left to ourselves.

 

A year later we moved back to Slovenija. I enjoyed an idyllic in this village, completely cut off from the outside world. There was no electricity, no phone, no newspaper, no paved road nor running water. Anything I wanted to know, I had to go to my father and ask him. Very ancient traditions were fully alive at that time, that is, 1953. I had by then added guitar to the instruments I was playing. I was starting to feel as if I had to leave this place and go someplace else. Where this place was I had no idea.

 

The whole thing culminated with my escape from Yugoslavija to Austria. One of my friends and I planned this escape for a year, and then carried it out, by plunging into ice-cold river at 3 am, called Mura or Mur in German. About 16 months later I was in Toronto Canada, looking for a job and trying to learn English language as fast as possible. I was reading voraciously, everything I could put my hands on. I had developed three new divinities which took all my time and energy. They were: the English language and music, which fed my feeling faculty, and history-linguistics, which fed something in me I had no name for yet.

 

About 15 years later, after having read all the mysticism available in Toronto, I went to the store “Fifth Kingdom’ and clumsily reached out for the catalogue on a small table. As I grabbed it, it opened somewhere in the middle or so, and I saw the following: “Mr. Gurdjieff, Our life with Mr. Gurdjieff, Gurdjieff the great enigma”, and so on and on.

 

I was hardly breathing from the excitement. After a few moments, I asked the man at the table, "Who is this Mr. Gurdjieff?"

 

He pointed at the Ouspenksy’s book “The Fourth Way”. I went home and started reading it. I actually remember that before the page 40, I was able to exclaim,” my God, I found it.” So, my life changed, I was going in a new direction. Soon I got in touch with the Gurdjieff Foundation, and immediately joined it. The rest is in my written work which everyone can download on line.

 

Theodor Lebar
Aug. 21, 2015.

 

Contact: Tedlebar@rogers.com

 

Books

 

Dictionary of the "special" words in All and Everything: Beelzebub's Tales to His Grandson

 

In PDF format

$50.00 Canadian

 

The dictionary is just that, a dictionary. What makes it different is that it took about 35 other dictionaries to collect all the necessary words, and even just syllables. The most difficult one was the Armenian dictionary. It wasn’t available in a transliterated form, so in despair, I undertook to learn to read and write in Armenian script in order to be able to use their dictionary. It took me about one and half years and 3 to 4 hours a day to learn to use the Armenian dictionary. Next to the Russian, Armenian is the next most frequently used language in Beelzebub. But, all the middle-eastern languages are used to some extent. Also, the dictionary is open-ended, which means I am still working on it, and new finds will be available for downloads.

 

To buy the book, click here:

 

 

 

 

successful payment will default to a link from which you can download the book.

 

 

 

 

 

 

 

 

 

 

Interlinear original, all-new Russian-to-English translation of All and Everything: Beelzebub's Tales to His Grandson

 

In PDF format

$50.00 Canadian

 

 

To the reader:

On my first reading of Beelzebub, I was amazed at the difficulty people had in pronouncing some the words and obviously, in understanding what they are reading. Even before I saw the original Russian script, it was clear to me that some of these words had to be written much more clearly in English. I remember the word Akhaldan, which the reader was pronouncing as Akaldan, with the accent on the first a. That just sounded wrong to me. Orage used the kh combination, throughout the book, for the sound h, as in, hot, her, hiss, etc. I immediately understood that this would all have to be re-written in order to make it clear to the reader how these words are pronounced.
           Luckily, in 1991, I saw for the first time the original Russian script, and immediately, my suspicions were proved right. There are many, many words that are being pronounced wrongly, and therefore understood wrongly. The only question was what can I do about it, if anything. After pondering for several days, I decided that it would be my task to take care of this problem. First thing that needs to be done is, expose the reader to the Slavic alphabet, because in that alphabet it is possible to write and pronoun exactly what Mr. Gudjieff had in mind. So, the Slavic letters ? ?, as in church, chat, etc., then Š š, shot, shy, etc., Ž ž, as in Zhivago, Jean, Jeanne, etc..  and from the Serbo-Croatian the Ð ?, as in job, jab, joke, etc,.The letter H h,  is pronounced as plain h, as in, hot, his, hers, etc,. So, that the word which Orage spelt as Akhaldan, in Russian, Gurdjieff spelled it as ??????, that is, Ahldan in English text, each letter to be pronounced clearly. So, I decided to do the Interlinear translation, which means, matching the English word exactly above or below the Russian word, and that way, the reader will see exactly what word Gurdjieff used, and how it is pronounced. Now, 25 years later, it is ready to go online, where the reader can download it.

Enjoy it.

 

Love to all, Theodor Lebar.

 

To buy the book, click here:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

a Doremishock resource