ASOCIAȚIA SLAVIȘTILOR DIN ROMÂNIA OMHNOSLHVK. gerie noua, voL LIII nn 2 https://biblioteca-digitala.ro ROMANOSLAVICA Vol. LIII nr.2 https://biblioteca-digitala.ro Reproducerea integrală sau parțială, multiplicarea prin orice mijloace și sub orice formă, cum ar fi xeroxarea, scanarea, transpunerea în format electronic sau audio, punerea la dispoziția publică, inclusiv prin internet sau prin rețele de calculatoare, stocarea permanentă sau temporară pe dispozitive sau sisteme cu posibilitatea recuperării informațiilor, cu scop comercial sau gratuit, precum și alte fapte similare săvârșite fără permisiunea scrisă a deținătorului copyrightului reprezintă o încălcare a legislației cu privire la protecția proprietății intelectuale și se pedepsesc penal și/sau civil în conformitate cu legile în vigoare. https://biblioteca-digitala.ro UNIVERSITATEA DIN BUCUREȘTI FACULTATEA DE LIMBI ȘI LITERATURI STRĂINE ASOCIAȚIA SLAVIȘTILOR DIN ROMÂNIA Departamentul de filologie rusă și slavă ROMANOSLAVICA Vol. LIII nr.2 editura universității din bucureștiK 2018 https://biblioteca-digitala.ro Articolele au fost recenzate în sistem peer-review. COLEGIUL DE REDACȚIE: Prof.dr. Constantin Geambașu, prof.dr. Octavia Nedelcu, lect.dr. Dușița Ristin Prof.dr. Antoaneta Olteanu (redactor responsabil) Drd. Gabriel Stan - secretar de redacție COMITETUL DE REDACȚIE: Conf.dr. Dagmar Anoca (Universitatea din București), conf.dr. Silvia Marin-Barutcieff (Universitatea din București), dr. Aleksander Bjelcevic (Universitatea din Ljubljana), conf.dr. Cristina Bogdan (Universitatea din București), cercet.șt. Iustina Burci (Institutul de cercetări socio-umane „G. Nicolăescu-Plopșor), prof.dr. Mariana Dan (Universitatea din Belgrad), prof.dr. Zuzana Kovâcovâ (Universitatea din Nitra), lect.dr. Maria Lațchici (Universitatea din București), prof.dr. Avsenik Nabregoj (Universitatea din Ljubljana), dr. Anna Oczko (Universitatea Jagiellonă din Cracovia), conf.dr. Virginia Popovic (Universitatea din Novi Sad), c.s.I Elena Siupiur (Institutul de Studii Sud-Est Europene), conf.dr. Laura Spăriosu (Universitatea din Novi Sad), conf.dr. Diana Tetean (Universitatea „Babeș-Bolyai” din Cluj), conf.dr. Marina Vraciu (Universitatea „Al.I. Cuza” din Iași), conf.dr. hab. Andrzej Zawadzki (Universitatea Jagiellonă din Polonia). Tehnoredactare: prof.dr. Antoaneta Olteanu © Asociația Slaviștilor din România (Romanian Association of Slavic Studies) stangabrielandrei@yahoo.com IMPORTANT: Materialele nepublicate nu se înapoiază. ISSN 2537 - 4214 ISSN-L 0557 - 272X https://biblioteca-digitala.ro ARTICOLE ȘI STUDII https://biblioteca-digitala.ro https://biblioteca-digitala.ro BARBU DELAVRANCEA I IVO ANDRlC - KNJIZEVNI KONTAKTI In the realist structure of the short story Hagi Tudose (1903), written by the Romanian author Barbu Çtefânescu Delavrancea (1858-1918), there are incorporated motifs like stinginess, social alienation and the accumulation of capital, and forty years later, through the character of Rajka Radakovic from the novel The Miss (1945), writer Ivo Andric (1892-1975) did the same thing. Such characters embodying the stinginess, like Hagi Tudose and Rajka Radakovic, have a similar psychological profile and also similarities in their replicas, having the same ideas, and thus are created conditions for a comparative reading of the mentioned works, just serving for a further dialogue and contact between these two different cultures. Keywords: motif of stinginess, intertextuality, comparative reading, dialogue of cultures Neprestano „preobrazavanje” procitanog sadrzaja koje aktivira „komunikaciju medu piscima s one strane vremenskih granica”, odnosno neizbezna „pokretljivost knjizevnih tekstova”1, rukovodili su nas u ideji da je moguc knjizevni dijalog izmedu dvojice pripadnika realizma 20-og stoleca, Barbu Ștefănescu Delavrancea (1858-1918) i Ive Andrica (1892-1975). Analiziranje pozicije novele Hagi Tudose (1903) Barbu Delavrancea i Andricevog romana Gospodica (1945) u 1 Pierre Bayard, Anticipirani plagijat, prevela Mira Popovic, Beograd, Ed. Sluzbeni glasnik, 2010, str. 53-60. https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 kontekstu ne samo partikularnih, nacionalnih literarnih tradicija, vec i u sirem kontekstu dvadesetovekovne knjizevnosti, znacilo bi otvaranje prostora za preispitivanje knjizevnih motiva tvrdicluka, neljudske pohlepe, nagona za sticanjem, opsednutosti ustedom, akumulacije kapitala i socijalnog otudenja. Koliko nam je poznato knjizevna istorija, teorija i kritika nisu do sada u pomenutim delima detektovale dodirne tacke. Sa pozicije obrade teme tvrdicluka, u radu polazimo od ideje da oba autora crpe, transformisu i asimiluju motiv iz bastine evropske i svetske knjizevnosti (Plaut, Shakespeare, Honoré de Balzac, Molicre, Charles Dickens...)1. Pozivajuci se na istaknutog francuskog komparatistu Ives Chevrel, Gvozden Eror podvlaci da praksa intertekstualnosti nesumnjivo ne moze da bude prepustena arbitrarnosti, te da je „intertekst izgraden putem elemenata bazicnog corpusa, i treba pokazati da su ovi elementi u odredenim odnosima, odnosima slicnosti, analogije, ali i suprotstavljanja sto bi omogucilo da se pojedino delo protumaci barem delimicno“2. Na istom tragu je ideja da se „umetnicki lik ne izgraduje samo kao realizacija odredene kulturne sheme, nego i kao sistem znacajnih odstupanja od nje, koja nastaju pomocu posebnih uredenja” 3. U tom smislu, lik Rajke Radakovic - zene tvrdice - u simbolickom poretku balkanske zajednice biva krajnje neuobicajen i netipican. Usmereni na kompleksnu prirodu prozimanja stvaralacke licnosti pisca i njegove biografije, tragajuci za duhovnim entitetom autora, najpre otkrivamo biografske podudarnosti Andrica i Delavrancea koje se odnose prvenstveno na njihovu drustvenu angazovanost. Barbu Delavrancea je bio profesor, advokat4, urednik casopisa „Slobodna Rumunija”, poslanik u skupstini, predsednik opstine Bukurest (1899), ministar javnih poslova (1910-1912), od 1912. clan Rumunske akademije nauka, ministar industrije (1917), vrstan pesnik i pisac, orator i politicar. Dvadesetogodisnja diplomatska aktivnost (od 1920. do 1941. godine) Ive Andrica svakako opravdava drustvenu kritiku koja je diskretno protkana kroz Andricevo delo sto ujedno doprinosi univerzalnoj dimenziji njegove proze. Likovi tvrdica, Tudose i Rajka, imaju slican psiholoski profil i podudaraju se u replikama varirajuci iste ideje, te se na taj nacin stvaraju uslovi za uporedno naratolosko citanje pomenutih dela: 1 Literarna dela sa temom tvrdicluka uzimamo kao opste i zajednicko dobro i navescemo neka od njih: Titus Maccius Plautus (izmedu 254. i 251. godine pre n.e - 184. godine pre n.e.) napisao je komediju Cup (Aulularia); hrvatski autor Marin Drzic (1508-1567), napisao je komediju Skup (1554); iz engleske literature izdvajamo delo Mletacki trgovac (1595), ciji je autor William Shakespeare (1564-1616); Jean-Baptiste Poquelin Molière (1622-1673) autor je Tvrdice (1668); Honoré de Balzac (1799-1850) napisao je Eugénie Grandet (1833); Iz srpske literature izdvajamo Jovana Steriju Popovica (1806-1856) i njegovo delo Tvrdica (Kir Janja) (1837). Duzni smo navesti jos tri znacajna dela sa temom tvrdicluka iz rumunske knjizevnosti: roman Moara cu noroc/Mlin koji donosi srecu (1881) i roman Mara (1894) autora Ioan Slavici (1848-1925), a zatim Otilijina Enigma/ Enigma Otiliei (1938), ciji je autor George Călinescu (1899-1965); 2 Gvozden Eror, „Komparatisticka terminologija. Novije akvizicije”, u Filoloski pregled, XXXIV, knj. 2, Beograd, Ed. Filoloski fakultet, 2007, str. 27. 3 Jurij Lotman, Struktura umetnickog teksta, Beograd, Ed. Nolit, 1979, str. 326. 4 U ulozi advokata najpoznatije sudenje u karijeri Barbu Delavrancea odnosilo se na ono u kojem je pokazao oratorske sposobnosti braneci svog kolegu knjizevnika Ion Luca Caragiale (Jon Luka Karadale) koji je bio optuzen za plagijat (1902. godine). 8 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 1. Antiheroji u literaturi; Mesto i vreme radnje novele Hagi Tudose je Rumunija s kraja 19-og veka. Tema novele je socijalni zivot Rumunije i prodor kapitalistickog sistema u zivot rumunskih sela i gradova. Pripovedac prati razvoj glavnog lika, Tudosea od detinjstva do starosti. Od obicnog segrta on postaje zelenas i gazda koji ne skriva roditeljsku ljubav prema trgovini. Tumacenju ovog lika priblizavamo se kad ga smestimo u duhovni kontekst kolektivnih tvorevina rumunske kulture jer kada govorimo o motivu tvrdice u rumunskoj literaturi tesko ga je izbrisati iz kolektivne memorije. Mesto i vreme radnje romana Gospodica je Sarajevo pre (oko 1906.) i za vreme Prvog svetskog rata, a zatim Beograd, glavni grad novostvorene Kraljevine Srba, Hrvata i Slovenaca u prvim haoticnim godinama posle rata. Lik Rajke Radakovic nije blizak modelu kolektivne identifikacije. Svojstvo tvrdicluka, opsednutost novcem, zelenasenje, a zatim i tragican kraj, kreira model zajednicke identifikacije pomenutih likova - tip palog coveka, odnosno antiheroja u literaturi. 2. Tvrdicluk kao stereotip/kao urodena i stecena crta karaktera; Tvrdicluk je kao defekt karaktera star koliko i covecanstvo, a manifestuje se vrlo cesto i danas. Nije rec o „slabosti koju nosi starost”, kako je tvrdio Aristotel u svom delu Nikomahova etika. Tvrdicluk je kod Tudosea imanentna karakterna osobina i u dobrom delu stereotip. Da li se to moze kazati za Rajku Radakovic? U njenom slucaju validna su dva tumacenja: Prvo je da je tvrdicluk kod nje jedan od predaka genetskih defekata jer je njen pokojni pradeda po majci, gazda Ristan, o kojem saznajemo od drugih, bio tvrdica, te da se Rajka po tvrdicluku metnula na njega. Drugo tumacenje je da je kod Rajke tvrdicluk stecena crta, nametnuta sa strane, izazvana ocevom smrcu, traumom koju dozivljava u petnaestoj godini. Prelomno u Rajkinoj sudbini je ocev „testament”, cin primopredaje, opasan amanet i neizreciva osveta: „...sva ustreptala, ona mu se zakle da ce stedeti tvrdo i nemilosrdno, dok je s majkom, kad se uda ili ostane sama, bez obzira na to kakav ce pravac njena sudbina uzeti, da nece pustiti svoj zivot iz svojih ruku ni dozvoliti da bude zrtva svojih slabosti ni ljudske pohlepe”. Dobre oceve namere, medutim, stvorile su lose posledice. Obecanje koje je dala na ocevoj smrti izvor je Rajkine frustracije, depresije, mizantropije i otudenja i ostavice trajne posledice na njeno ponasanje i zivot. Kad vec nije mogla da ga spase, njen san postaje da „osveti i pokaje oca”. Taj njen san biva i imenovan - „steci prvi milion”. Ako uzmemo u obzir petnaestogodisnjakinju koja stoji pred tako odgovornim zavetom sticanja i stednje, ne mozemo da ne osetimo empatiju prema njoj. Kada je u pitanju lik Tudosea, medutim, empatija izostaje. 3. „Krpez i trpez kucu drze”; Staru narodnu poslovicu „Krpez i trpez kucu drze” najbolje pojasnjava sledeci odlomak iz romana Gospodica: „Krpez!” To je slast. To je, istina, vecita borba i zamorno nadmudrivanje sa mocnim, nevidljivim neprijateljem. (...) Istanji se i pocepa jedno mesto na nekim papucama ili nekom komadu rublja, (...) tu za Gospodicu tek pocinje prava borba i tek se otvaraju mucni i daleki, ali sjajni izgledi velikih pobeda” 1. (...) „Ponovo pocinje da krpi. Vatra u peci se gasi. Tama osvaja sobu. Gospodica se sve vise primice prozoru a od toga joj biva sve hladnije. Pomisli da zapali svetlost, pa se odmah predomisli, savlada, i produzi da 1 Ivo Andric, Gospodica, Beograd, Ed. Prosveta, 1996, str. 13. 9 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 radi i napreze oci u borbi sa mrakom. Tako prolazi pet minuta. Sat glasno kuca ustedene sekunde. Sa zadovoljstvom pomislja: eto, da sam malocas popustila prvoj zelji i zapalila svetlost, dosada bi vec pet minuta nepotrebno gorela; a evo, sa malo napora jos se i sada vidi i razlikuje svaka zica”1. Gotovo identican tok misli nalazimo kod Tudosea kome poput Rajke krpljenje predstavlja „prijatan i koristan posao”, a pravo zadovoljstvo mu je da sam popravlja cizme i krpi svoju odecu. 4. Odmetanje od Boga; U oba dela upecatljiva je slika mracne sobe u kojoj borave nasi protagonisti: sami, sumorni i pomracenog izgleda. Kuca Hadzi Tudosea je skromna i pusta. Dane provodi u mracnoj sobi (da ne bi trosio svece) sa malim prozorcicem, koja pre podseca na mrtvacku grobnicu2. Ovoj kategoriji pridruzuje se i Rajkin dom na cijim prozorima „padaju u oci i jake gvozdene precage koje celoj kuci daju mracan i tamnicki izgled“3. Njena kuca u Sarajevu „lici na grobnicu“, dok je kuca u Stiskoj ulici, u Beogradu bila udaljena od grada, prilicno zapustena i pomalo vlazna”. U kuci se kuvalo samo jedanput za ceo dan, lozila se samo jedna soba, i to umereno. Pomrcina, kao odsutnost svetlog bozanskog u coveku determinise oba lika. Tudose i Rajka zive u uzasu nemilosrdnog bogacenja i istinski ne mare za Boga, ne daju prilog za crkvu, a posebno ne mare za prosjake koji su u shvatanju obe kulture „bozanski ljudi”. Odmetanje od obicaja da se pomognu siromasni i ugrozeni, ujedno je odmetanje od kulture, tradicije i vere kojoj pripadaju po poreklu. Prisecanje na Boga koji je prerusen u prosjaka krenuo svetom da kusa ljudska srca, pomaze nam da u ovim detaljima iz oba teksta prepoznamo i druge vidove interkulturalnosti. Za njih, bezboznike, bez korena, novac je iskrena, bezuslovna i potpuna ljubav, jedina religija koju priznaju i to produbljuje jaz izmedu njih i zajednice koja ih izopstava. Jedna od slicnosti koja povezuje nasa dva teksta je i formiranje likova iz perspektive drugih. Tako Rajku njeni sugradani karakterisu na sledeci nacin: „Za krst ni za dusu ne zna. Samo slaze paru na paru, a niko nikad nije ni ovoliko hasne od nje vidio. Ni bogu tamjana ta ne da!“. Nije mnogo drugacije, ni kada bliski rodaci (Rajkina tetka ili Tudoseova necaka Leana) pricaju o skrosti Rajkinoj ili Tudoseovoj. Tudose jede i pije na racun trgovaca. Za Bozic ili za Uskrs ne kupuje nista od tradicionalnih proizvoda kao ostali Hriscani, sto je jos jedna potvrda odmetanja od tradicije kojoj pripada. Da ne bi platio hranu pribegava raznim lukavstvima: ulazi u prodavnice, proba nesto od proizvoda, a zatim odlazi rekavsi da su preskupi. Nacinom na koji se ogranicava od sopstvene potrosnje, zivotari od onoga sto okusi u prolazu Tudose u izvesnom smislu prevazilazi asketu Rajku Radakovic kod koje prepoznajemo dozu tihog dostojanstva. Jos jedna epizoda govori u prilog nepoboznosti Tudoseove i njegovog odmetanja od vere. Ne bi li se priblizio Bogu Tudose odlazi da poseti sveta mesta u Palestini. Cilj je pre svega postici titulu sveti/hadzi, a potom usput i zaraditi novac prevarom lakovernih ljudi. Njegov put se transformise u sredstvo zarade, buduci da se dosetio da prodaje drvo za koje laze 1 Ibidem, str. 26. 2 „Odaie tristă, întunecoasă, un mormânt pe ai cărui ochi de geam, ca un sfert de hârtie, ț-ar fi frică să privești, de frică să nu vezi morții odihnindu-se cu fețele în sus ... Hagiul rămase singur. Trist, întuneric și frig”. Hagi Tudose, http://biblior.net/hagi-tudose/hagi-tudose.html?page=6, consultat la 13.12.2016 3 Ivo Andric, Gospodica, str. 10. 10 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 ljudima da je sveto. Pre njegovog odlaska na taj put, popovi tendeciozno govore o paklu gde idu tvrdice, jasno stavljajuci do znanja Tudoseu da su prozreli njegov interes. 5. Bica narusenog razuma; I Rajka i Tudose su izgubljena bica narusenog razuma. U svom tvrdicluku ne stede ni sebe ni druge. Skrtost Rajki i Tudoseu daje cudnu logiku. Njihov devijantan nacin razmisljanja u svakodnevnoj borbi kako da sacuvaju novac ide do krajnosti. Tudose zeli da smanji rep macku da mu se ne bi hladila kuca kad macak ulazi na vrata. I Gospodica je nakon majkine smrti odmah uklonila velikog macka Gagana, „tesku izelicu i dangubu”, zbog koga je imala sa majkom toliko sukoba, do poslednjeg dana. Novac za Tudosea predstavlja porodicu, novac su deca. Nece se ozeniti jer odrzavanje porodice znaci trosak. „Da smrt ima zlatnu kosu ja bih obe ruke uronio u nju”1, priznaje Tudose u svom ludilu. Na svom zivotnom putu Rajka i Tudose uce da se suzdrze od trosenja novca, a pripovedaci prate liniju gde se zadovoljstvo za ustedom novca pretvara u specificnu vrstu ljudske pohlepe, potom u morbidnu skrtost, razarajucu silu, da bi zatim pohlepa za novcem dostigla monstruozne razmere i na kraju se preobrazila u halucinirajuci tvrdicluk koji je ugraden u temelj svih njihovih postupaka i koji ce ih odvesti u bolest i ludilo. 6. Fokusiranje na telo, cula i instinkte kao jedinice prenosenja poruke; Po svetom Jovanu Zlatoustom, dusa covekova je „grad” u koji „gradani”, tj. razlicita znacenja, ulaze kroz cetiri „kapije”, cula: vida, sluha, ukusa i mirisa. Naracija u oba teksta vrti se oko tela i iskustava koja pobuduju sva cula i instinkte (vid, sluh, miris, ukus, senzacije, refleksi, instinkti izrazeni kroz glad, zed, hladnocu, toplinu, san, a potom instinkti za ocuvanjem, reprodukcijom i pohlepom). Odsutnost osecanja, nagon za sticanjem, osecaj gramzivosti, opsednutost ustedom i fetisizam prosiruje se i na telo nasih protagonista, otvarajuci analizu teksta iz aspekta bioloskog nivoa. Njihovi culni prohtevi su ograniceni. Osujecenost ljubavnih osecanja, potiskivanje, uspavane zelje asketa i na kraju gubitak samog sebe znacajni su za njihovo razumevanje. Svevremene osobine tvrdica kroz ljubav prema zlatu koje je tu da ih dodirne, miluje, zagreje, utesi, podari potomstvo i ispuni prazninu, sprovedene su kod oba lika. Telo Hadzi Tudose od hladnoce zimi podrhtava, a leti se topi od vrucine. Uz koriscenje vec istrosenog stredstva, monologa izrecenog naglas, doznajemo o liku ciji se tvrdicluk pretvara u fetisizam: „Sta moze biti svetlije od novcanica u rukama”; „Dovoljno je samo da pomislite sta mozete uciniti s novcem, pa da osetite radost stvari koje niste kupili”; „Da, dovoljno je da uzmete novac u ruke i da se rashladite, ako vam je toplo, ili da se ugrejete kad vam je hladno”. Kao fetisista koji se odnosi prema objektu svog obozavanja, tako i Tudoseu „zasijaju oci od radosti” svakoga dana kad izvadi svoje blago i posveti se brojanju. Oseca se krivim, kao ubica, kao otac koji je ubio svoju decu jer je dao novac svojoj rodaki Leani da mu napravi corbu. Toliko je opijen zlatom, da se iz jednog njegovog monologa moze izdvojiti oda zlatu: „Corba ima zlatan ukus. Corba mirise na zlato”, uzdise Tudose. U halucinirajucem stanju naziva sebe „ludakom“, „zlocom“ i „ubicom“ jer je pokusao da ubije „svoju decu“ - zlato koje je prepoznao u mehuricima masnoce u corbi. Bez drva 1 „Moartea să aibă coasă de aur, el și-ar înfige amândouă mâinile în tăișul ei’’ Hagi Tudose, http://biblior.net/hagi-tudose/hagi-tudose.html?page=6, consultat la 13.12.2016 11 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 za ogrev i bez supe koja bi oporavila njegova cula, Tudoseovo telo slabi i dovodi ga do tragicnog kraja. Hagi Tudose umire u gomili novca pogoden uzasom da ce ga izgubiti. U toku pogrebne ceremonije, necaka Leana je potrosila hrpu novca. Svi su govorili da moze kojim slucajem da vidi koliko je njegova necaka utrosila novca na njegovu sahranu, ponovo bi umro. I Rajka poseduje izokrenuta fetisisticka svojstva prema novcu. Ona svakodnevno zudi da oseti konkretno prisustvo interkulturalnih novcanica koje ima u posedu. Uziva u tome da u razna doba dana i noci vadi iz svog skrovista i razgleda zlato, „turske dukate“, „krupne Amerikance” i „svajcarske franke”: „Kraj i bokove i jedne i druge povorke zlatnika prati stotinak napoleona, sitnih, zustrih, francuskih petlica svetlog i jasno odredenog lika. Oni su kao neka konjica carkaskih odreda i zastitnica. Oni imaju lepo ime i dobar zvuk kojeg uho ne moze sito da se naslusa jer oni su sada postali „njeno drustvo i lektira, njena vera i porodica, njena hrana i razonoda“. Rajka Radakovic „vremenom postaje slepa za spoljasnji izgled ljudi”. Hladna, nemirna jeza obuzima Rajku i prodire sve dublje u njeno telo kad otkrije Ratkovu izdaju, prevaru coveka kome je posudila novac i kome je na trenutak, zaneta njegovom pojavom, poverovala. Svoje neobjasnjivo slepilo Rajka pravda sledecim dijalogom sa mrtvim grobom: „I kako da se covek tu razazna i odbrani od svega sto mu prilazi maskirano i lazljivo, od gladnih, opasnih i nedokucljivih nagona koji zive u ljudima i nad kojima nemate nikakve vlasti, jer ih ni oni sami i ne poznaju dobro a kamoli da vladaju njima”? Strah kao najveci pokretac i neprijatelj coveka obuzima Rajku u poslednjim sekundama njenog zivota kada njeno „telo se opusti i smiri i ostade ispruzeno u mraku i tisini“. Umire od srcane kapi kao posledica straha da je dugo ocekivani razbojnik konacno upao u njenu kucu i obelodanio njen predmet obozavanja. Rec je, kao i u slucaju Tudosea, o halucinaciji. Rajka umesto kaputa vidi lopova koji je dosao da joj otme ono zbog cega je zivela. 7. Dehumanizovanje novcem i drustveno otudenje; Novac je likove poput Tudosea i Rajke dehumanizovao i odredio njihovu sudbinu. Oba lika, kao sto smo videli, karakterise zivot uzdrzavanja od trosenja, postojanje liseno minimalne udobnosti, topline, ljubavi i tragican kraj. Drustveno otudenje determinisano je novcem, ali je i covek opredmecen novcem. Generalno je lik tvrdice-zelenasa vezan za musku liniju. Individualnost i nadmetanje kao tipicno muske osobine, te takvo Rajkino osmisljavanje sopstvenog zivota, na intenzivniji nacin, nego u slucaju Tudosea, produbljuje jaz izmedu nje i zajednice. 8. Monetarna terminologija; Kroz drustveno konkretizovan porok sticanja kapitala, evidentna je trgovacka i monetarna terminologija kojoj pribegavaju i Barbu Delavrancea i Ivo Andric u isticanju negativnih nagona i strasti: „zelenasenje, tezoro, duznik, kamata, zalog, zlato, kupovina dukata, kasa, pozajmica, prihod, rashod, hartije od vrednosti, crna berza“ i sl. 12 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Zakljucak Ko se jednom susreo sa Euklionom ili Harpaganom, ne moze ih nikad zaboraviti jer svako vreme i svaka epoha ima svoje tvrdice koji, kako god bili tumaceni, uvek se nanovo radaju i zive svoj besmrtni vek. Sa pozicije obrade teme tvrdicluka, koja, kako smo uvideli menja oblik, sasvim prirodnim se cini jedan moguci dijalog Andrica i Delavrancea. U nasoj analizi poceli smo od uporednog naratoloskog citanja oba teksta koje prati psiholosko produbljivanje licnosti tvrdica Rajke Radakovic i Hagi Tudosea. Nijedan od analiziranih likova niposto nema komediografsku notu. Ne smemo smetnuti s uma da oba analizirana lika hodaju stazom modernog profita na ivici zakona. Barbu Delavrancea je u realisticku strukturu novele inkorporirao klasicisticke i romanticne elemente, te je novela pisana sa moralistickom poukom na kraju u duhu klasicizma, upucujuci citaoca da se zamisli pred temom fortuna labilis. I pored sadrzajnih slicnosti moze se zakljuciti da je delo Barbu Delavrancea „slabije” od Andricevog, upravo zbog usredsredenosti na patoloski slucaj glavne licnosti koja nije daleko od onoga sto su pre njega izlozili Plaut, Sekspir, Honoré de Balzac, Moliere ili Charles Dickens. Andric je otisao od pomenutih autora dalje jer se fokusirao na netipicnu pojavu zenskog tvrdice u knjizevnosti ne samo srpske, odnosno rumunske, vec i evropske i svetske literature. Ovu interesantnu i po mnogo cemu indikativnu pojavu, zene-tvrdice (ne muskarca- tvrdice), nalazimo u rumunskoj knjizevnosti u liku Mare iz istoimenog romana koji je objavljen 1894. godine, autora Ion Slavici, ali i mnogo ranije u nemackoj knjizevnosti u pripoveci Theodor Storma gde je glavna junakinja, Frau Jansen, takode zena-tvrdica, a njena prica ima neverovatne slicnosti i paralele sa junakinjom Ive Andrica. Rajka i Hagi Tudose predstavljaju kulturolosko ogledalo i prozor drustvenih stavova u specificnim nacionalnim kontekstima. Kroz tok karakteristicnih prizora potvrdio se dijalog i dodir izmedu kultura, uz zadrzavanje razlicitosti, a potom smo dosli na ono univerzalno, primenljivo i prepoznatljivo i u nasem vremenu. Oba teksta obelezena su potragom za oblikom koji bi najbolje predstavio ono sto je epohalno. Danas je teror novca i motiv sticanja aktuelniji nego ikada te su u tom smislu oba dela gotovo stvorena za tranziciona vremena i gotovo prorocka, pruzajuci pouku da razmislimo i malo „zakocimo”. Nemilosrdna trka za bogatstvom bez plemenitog i velikodusnosti nije samo dehumanizovanje, vec i odlazak u krajnost, izlazak iz realnosti, odmetanje od coveka i covecanstva. Uprkos silovitom prodoru kapitalistickog merkantilnog drustva koje promovise rumunsku izreku Banul este cheia cu care se deschide orice ușa (u prevodu na srpski jezik Para vrti gde burgija nece), kulturni model koji jos uvek opstaje u pomenutim kulturama, vidljiv je i kroz sledece srpske i rumunske poslovice koje osuduju tvrdicluk i promovisu davanje kao otelotvorenje hriscanskih vrlina: zgârie-brânză/ stipsa; Lacomia strica omenia/ Lakomost kvari coveka; A da cu o mână și a lua cu alta/ dati jednom, a uzimati obema rukama; Nu e stapan pe banii lui ci banii il stapanesc pe el/ Ne gospodari on imovinom, vec imovina gospodari njime i sl. 13 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Literatura Alexandrescu, Emil, Literatura română în analize și sinteze, Ediția a VlI-a revăzută și completată,https://admd.info/resurse/carti/Prof.%20Emil%20Alexandrescu/Literatura%20romana %20in%20analize%20si%20sinteze.pdf Andri c, Ivo, Gospodica, Beograd, Ed. Prosveta, 1996 Avarul in literatura universala, https://rdz.ro/referat/referat-romana/avarul-in-literatura- universala.html Bayard, Pierre, Anticipirani plagijat, prevela Mira Popovic, Beograd, Ed. Sluzbeni glasnik, 2010 Delavrance, Barbu Ștefănescu, Hagi Tudose, http://biblior.net/hagi-tudose/hagi-tudose.html sajt konsultovan 9. 10. 2016 Eror, Gvozden, „Komparatisticka terminologija. Novije akvizicije”, u Filoloski pregled, XXXIV, knj. 2, Belgrad, Ed. Filoloski fakultet, 2007 Lotman, Jurij, Struktura umetnickog teksta, Beograd, Ed. Nolit, 1979 Maricevic, Jelena, Interkulturalni aspekti kao manfestaaje Andricevog „teatra senki" na primeru romana Gospodica (od 18.-og decembra 2013) http://kulturniheroj.com/?tag=rajka-radakovic sajt konsultovan 12. 12. 2016 14 https://biblioteca-digitala.ro THE FAMILY IN THE VICTORIAN ERA Carmen DĂRĂBUȘ Les trilogies de John Galsworthty - Forsyte Saga et Une comédie moderne -ont été élaborées pendant vingt ans et articulent, véridiquement, quarante ans de l’époque victorienne et post-victorienne, entre 1886-1926. Les mariages de complaisance c’étaient quelque chose d’habituel; parce que ce qu’en recherche dans le milieu conjugal c’est surtout la sécurité. La famille traditionnelle c’est le mécanisme de fonctionnement de la société, et celui-ci ne peut pas être mis en danger. Galsworthy voit dans l’amour de la période victorienne un facteur d’envahissante. Avec la fin de l’cre victorienne les mœurs se changent, la liberté de choix pour la paire est beaucoup laxiste, mais les drames personnels se répctent, sur des autres antécédents sociaux, en prouvant l’universalité de la nature humaine. Mots-clefs: littérature anglaise, cre victorienne, amour/raison. Literature, especially the prose and the theatre, often transmit contents that have real events as starting point, reconstructed on a well-established social background, filtrated through literary art. Individual and collective life experience, family stories, the urban and/or the rural reconstructed in minute detail or less detailed, ages and their manners, all these make literature a depositary, sometimes even with documentary value. Some literary trends excel in the reconstruction of reality, for example realism and naturalism, works with old or new epic characters. Literature has tried, over the centuries, to capture the "psychological temperature” of a love deployment, making it more accessible and less dangerous. Denis de Rougement searches for mythical Archetypes of love, based on the Tristan and Isolde love story and on the myth of Don Juan. Love is no longer, as well as the Spinoza, connection with joy, but the passion is consumed, canceling the personality of the beloved or the one who loves. John Galsworthy’s trilogies - Forsyte Saga and A Modern Comedy - were written over two decades and emphasize truthfully forty years of the Victorian and Post-Victorian Era, 1886-1926, thus coming from the great realistic literature of the XIXth century, with its innovative forma from the beginning of the XXth century. Furthermore, the influence of his own biography is visible in his work: “When he introduced, for example, old Jolyon in the Forsyte Chronicle, the balance between affection and irony was spoiled, because the writer actually loved his father - despite the little evidence of obedience that he had offered him - and the character of his novel can’t be just sketch from nature, but a nostalgic remembrance of John https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Galsworthy senior”1. The portraits of the young rebels are closely linked to that of his sisters, Mabel (June) and Lilian (Euphemia), and Irene, the most fascinating female character of the series, is in fact Ada, the author’s lover and his cousin’s wife, Arthur Galsworthy, a marriage in which she remains prisoner until the death of the pater familias, John Galsworthy sr., who was watching over the observance of the Victorian social rules. The young Jolyon Forsyte is a bookish version of John Galsworthy, who had left his wife to marry a governess and thus he became ostracized, isolated for a long time. The first two volumes of the first trilogy (The Rich, The Man of Property) are ones of the conservative habits, while in the third novel, For Rent, that announces the second trilogy, the society is changing and the Victorian Era, especially after the First World War is a memory. A strong clan spirit manifests itself from the beginning where the entire Forsyte family gathers to June’s engagement, the grand-daughter of old Jolyon, with the architect Philip Bosinney, the one who, besides Irene, will create the symbolic fissure of a strong family, envisioning an era sunset. When a Forsyte was getting engaged, or was getting married or was born, the whole Forsyte family was present: “When a Forsyte died - but no Forsyte had died until then they didn’t die; death being against their belief - they were taking every precaution against it, the instinctive precautions of people of great vitality, who defend themselves against any spoilage of their property”2. The novel’s structure unfolds depending on generation and their evolution. The first Jolyon Forsyte is evoked in tones of epic, the first deceased pater familias from London, who arrived in the capital from a modest family of farmers, but who succeeded in making a fortune in the building domain. The relationships between the members of the family are reserved the behavior is serious, the affection and joviality are seen as weaknesses. The young architect is viewed with suspicion, not being considered worthy of one of the family’s heiress. Soames, James‘son, Jolyon’s younger brother, who is married to Irene, considered too beautiful by her husband’s family, out of the ordinary, therefore reason for worry. Married to Soames under her step-mother’s pressure, Irene is loading a resigned life with her husband considering her, his most precious property, intends to build a home at Robin Hill, designed by Bossinney, outside of London, to keep her out of other men’s sight. The only emotional support came from June, her husband’s nice, and who was advising her to get a divorce. But exactly June’s fiancé will charm Irene and their affair will revolt the family: “The separation of Soames-Irene couple, after the building of that beautiful and expansive house from Robin Hill, is not provoked only by Irene’s feelings for Bossinney. It results from an incompatibility of mind and character. [...] The consequences of the separation of this couple have disastrous effects on more generations, till the couples are recovering in other formulas”3. 1 Dan Grigorescu, Studii de literatură engleză, Editura Grai și Suflet - Cultura Națională, București, 2003, p. 489. 2 John Galsworthy, Forsyte Saga, traducere de Henriette Yvonne Stahl, Editura Litera, București, 1991-1992, p. 12. 3 Romul Munteanu, Jurnal de cărți 7, Editura Libra, București, 1998, p. 48. 16 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Soames sues the young architect for overcoming expenses, and as he was suffering from Irene’s hesitant behaviors, is run over by a car, people believing that the accident was, in fact, a suicide. Irene returns to her husband, and apparently the traditional order is reinstated. Conventional marriages were natural because the thing that was wanted in conjugal environment was the safety. The traditional family is the mechanism functioning of society, and it must not be put into jeopardy, ensuring “the affective area where each member satisfies his/her needs, his/her intimate experience, the need for confession of an accomplishment or dissatisfaction on certain levels, offering the feeling of safety”1. In this definition, the reality ignores the intimate experience unusually in marriages of convenience. Galsworthy considers Victorian Era’s love an invasive factor, “a wild seed” out of which a wild plant will grow in a well-organized garden, blooming spontaneous and taking by surprise the flowers in the greenhouse and the “people in this social situation never jump the fence to reap this flowers; it is possible that some of them suffer out of love, like of measles at a certain time but then they heal for good and enter calmly in the arms of marriage’’2. Seen as a turbulent factor, love is treated as any other illness, it is an occurrence in a marriage certainly not a condition. Everything that happens beyond reason is being questioned, it is temporary. The victim is considered to be Soames, who suffers out of love and what Irene is feeling has no relevance for the society of that tome. Running away from home immediately after the tragic death of her lover, soon after she returned and found shelter at Robin Hill, where her father-in-law touched by her physical and spiritual charm, seemed to understand her, eventually this death, after a short period of time, alienated her totally from Forsyte family. Soames and Irene’s divorce takes place twelve years after “the facto” break-up, a divorce dictated by his concern of finding officially a partner, who can give him heirs, not someone who would confuse him with the intensity of feelings. In those twelve years, a part of the elderly of the family disappeared. Irene received a small fortune from Jolyon senior: “from those ten old Forsytes, twenty- one Forsytes were born, but those twenty-one Forsytes gave birth to only seventeen heirs”3. The younger generation, on its way out of the Victorian Era, changes its way of thinking and sparking the outrage of the other Forsyte, who can’t imagine another way of life than that standardized by traditional practice. The young Jolyon tries to keep up with the times tolerating June’s, his daughter’s eccentricities when it comes to spending money on helping young artists. Towards Jolly, his son, he refrains from moralizing speeches. Soames is still enchanted by Irene, even after twelve years, but now he finds a woman, in whom, after the death of Bossinney, she has dissolved all he vulnerabilities. She reinstated herself a strong woman, refusing to come back to him and give him a child: “No! No! Under no circumstance you may stalk me until my death! I am not coming back to you!”4. She would never forgive him the moment of 1 Maria Voinea, Familia și evoluția sa istorică, Editura Științifică și Enciclopedică, București, 1978, p. 9. 2 Galsworthy, op.cit., p. 153. 3 Ibidem, p. 70. 4 Ibidem, p. 304. 17 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 the rape out of passion and hatred wideming the gap between them and provoking the death of the architect who found out about the happening. Winifred, Soames’sister divorces Monty Darty, a thing that could have been hard to imagine fifteen years ago. Left by his mistress, poor, Monty returns to the family, which didn’t lost its preservation instinct and takes him back. Soames rebuilds his life with Anette, whom he doesn’t love, he admits to himself, but he is drown to her youth that promises heirs, but Irene remains the love of his life. She continues the love affair, started a few years ago with Jolyon; they get close after his son dies in the battle. Another society is taking shape, the old habits sea useless and ridiculous after the tragedy of the war; Galsworthy “is sufficiently objective to paint the destruction of old foundation, but does not dare to replace it with another foundation. That is why Galsworthy is sometimes tempted to adopt the opinion of his characters. For him, the shattering of the old means the collapse of all values, the establishment of chaos”1. Irene gives birth to a son, Jon, and Soames has a daughter, Fleur, lying to his father on his deathbed that he has a son. Loving unconditionally his daughter, it seems he has transferred all affection that he once had for Irene: “He wasn’t able to keep the beautiful and mysterious Irene, the unique episode that could have become the poetry of his life, but it was scattered in vain, in a divorce. He turns almost unconsciously towards his daughter, trying to give her what he didn’t know how to give to his wife: the liberty of feelings”2. And however, when their children, Jon and Fleur, meet and a passion arises between the two of them, the families do everything in their power to separate them. The past of the elders catches up with them, too. Finding out about their parents’ old story, Fleur suggests marriage, but Jon being afraid not to hurt their parents hesitates, arousing the girl’s anger. Soames’ second marriage is not serene either, he finds out about his wife’s relationship with Prosper Profond, but despite the threat of disinheritance they avoid, for Fleur’s sake, the scandal and everything is kept a secret, Anette knowing that this is just a marriage of convenience, without depth. Jon, on the other hand, finds out the true regarding the way Soames, his mother’s ex-husband treated her and his father’s deathbed, Jon reflects on the meaning of life: “All the life’s trials are preparations for this moment, the light and beauty - they are all nothing but the beginning of this white terrifying silence”3. Respecting the desire of his father on his deathbed, Jon will not marry Fleur, and other prejudices, not only those of Victorian society, but universal-Shakespearian ones, the old rivalry between families, will destroy this couple. Fleur marries Michael Mont, whom she doesn’t love. At the beginning of the Modern Era, history repeats itself, because it often happens that one loves and the other doesn’t love in a couple, or maybe none of them love, the happy symbiosis of lovers that meet in the same place at the same time rarely takes place, and when it happens something destroys it. Irene and Jolyon are separated by 1 Ion Ianoși, Romanul monumental și secolul XX, Editura pentru Literatură, București, 1963, p. 361. 2 Grigorescu, op.cit., p. 500. 3 Galsworthy, op.cit., p. 270. 18 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 his death, Fleur and Jon - by the traces of their parents’ wounds, Anette and Prosper - by social habits. The trilogies end with Somes’ reflection: “In vain he desired, in vain he shore - beauty and love in this world he could not gain”1. Owner of many properties, many works of art, he doesn’t find comfort in the love for his daughter, unpredictable and unhappy in the end. Sticking out of domestic rituals, the woman consists of impressions more varied than its predecessors in other centuries. Of all the family’s members, only Jolyon succeeded in sharing his lifestyle, after many years in which he had kept his son at distance, a mistake that he assumes and he corrects. The internal conflict of the Forsyte family is a manifestation of the external conflict, between them and the world opposite to them, “the conflict between property and liberty, between money and life”2. Some people succeeded in changing, others fail. Soames remains the”Owner”, the one who must have someone next to him in exchange for his money. With the death of Timothy, the last of the elder brothers of the Victorian Era, another social background emerges, but the internal conflicts keeps repeating itself: “The brothers participate in the rituals of a world that proves itself frighteningly narrow - minded and inflexible. [...] The Forsyte family is a specific group that is afraid of the world that is beyond the limits of its own fortune. The family seems to gather in itself: not even marriages or love stories bond them with people from outside of it”3. Facing the spirit of property through love will lead, in the end, to the youth’s unhappiness. Throughout the times, man’s interior character does not change spectacularly; the coordinates of love, happiness, unhappiness, misery remain constant. Literature, reflecting the individual's relations with society, cannot be regarded as a unitary system, the literary phenomenon has to be understood profoundly differentiated, literature’ trend is not to opt to provide emotional tension, but to represent the laws through feelings. Literature Dărăbuș, Carmen, Despre personajul feminin: De la Eva la Simone de Beauvoir, Editura Casa Cărții de Știință, Cluj-Napoca, 2004 Dărăbuș, Carmen, Lumea-n schimbare. Familia și tribulațiile istoriei, în „Acta Iassyensia Comparationis”, Iași, vol. 19, nr. 1. 2017 Galsworthy, John, Forsyte Saga, traducere de Henriette Yvonne Stahl, Editura Litera, București, 1991-1992 Grigorescu, Dan, Studii de literatură engleză, Editura Grai și Suflet - Cultura Națională, București , 2003 Ianoși, Ion, Romanul monumental și secolul XX, Editura pentru Literatură, București, 1963 Levițchi, Leon, Istoria literaturii engleze și americane, Editura Dacia, Cluj-Napoca, 1994 Munteanu, Romul, Jurnal de cărți 7, Editura Libra, București, 1998 Olteanu, Tudor, Morfologia romanului european în secolul XIX, Editura Univers, București, 1977 1 Ibidem, p. 334. 2 Ianoși, op.cit., p. 368. 3 Grigorescu, op.cit., p. 504. 19 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Rougemont, de Denis, Iubirea si Occidentul, traducere de Ioana Feodorov, Editura Univers, București, 1987 Voinea, Maria, Familia și evoluția sa istorică, Editura Științifică și Enciclopedică, București, 1978 20 https://biblioteca-digitala.ro POETIC SELF-REFLECTION IN THE POETRY OF MILAN JESIH Mateja ENIKO Pesniska samorefleksija oziroma metapoezija obsega avtotematske premisleke o poeziji in pesniku kot ustvarjalcu. Pomembno vlogo ima za razumevanje osebnih poetik in vloge poeticnega diskurza v sirsem druzbenem diskurzu. Prek metapoetskih refleksij pesniki samoosmisljujejo pesnisko ustvarjanje, samoutemeljujejo svoje mesto v literarnem sistemu in samoumescajo poezijo kot poseben druzbeni sistem v sirsi kontekst. Pri metapoeziji pa ne gre zgolj za tematizacijo vsega, povezanega s pesniskim ustvarjanjem, ampak ima kot formalna estetska kategorija lahko tudi estetski ucinek deziluzije. V opusu Milana Jesiha metamorfoze avtotematskih podob razkrivajo pesnikove osebne poglede in skladnost s socasnimi duhovno-literarnimi smermi. Pesniska samorefleksija tematizira smernice modernisticne poetike, v drugem delu Jesihove ustvarjalne poti pa s preizprasevanjem razmerja med resnicnostjo in fikcijo formira postmodernisticno zavest. Kljucne besede: Milan Jesih, slovenska sodobna poezija, metapoezija, samorefleksija, avtoreferencialnost, avtotematizacija 1. Introduction Metapoetry consists of self-reflection on the role of poetry, on the creative process, on the position of the poet in the literary-social context and on the process of reception. In Slovene literature the poetic self-reflection can be traced since the romantic striving for establishing the autonomy of literature (poetry) in society. Autothematic presentations of the literary canon can be found in the beginnings of the Slovene artistic poetry.1 In Romanticism, France Preseren, in his autothematical poems, justified the “image of poetry as a legitimate trace of transcendental totality and the medium for the spiritual individualization of his nation”.2 The contemporary Slovenian poet Milan Jesih (1950), who is also an excellent translator and playwright, showed commitment to the modernist writing with the elements of the ludic language game at the beginning of his poetic path (Uran v urinu, gospodar!, 1972). In the 1990s he moved to the sonnet form, in which he formed postmodernist consciousness using also self-reflexive processes. The 1 Marko Juvan, “Slovenski Parnasi in Eliziji: literarni kanon in njegove uprizoritve”, Individualni in generacjski ustvaijalni ritmi v slovenskem jeziku, krjizevnosti in kulturi: ob 10-letnici smrti Mar je Borsnikove, ed. by Marko Juvan and Tomaz Sajovic, Ljubljana, FF (Obdobja, 14), 1994. 2 Marko Juvan, “Presernova in Puskinova poezija o poeziji”, F. Preseren - A S. Puskin = F Presern - A S. Puskin: (ob 200-letnici njunega rojstva) = (k 200-letiju ih rozdenija), ed. by Miha Javornik, Ljubljana, Znanstveni institut Filozofske fakultete, 2001, p.43. Trans. by M. E. (the author). https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 collection of poetry Soneti (1989) is recognized as an example of poetic postmodernism in Slovenian literature.1 In his recent poetry collections, there is still a trace of the classical sonnet form and iambic verse, which the poet renews and puts into effect with fresh play of the poetic conventions, with letting down the expected, with free use of the language, with mixing of the low and the high, and with the refreshing ironic and humorous view. Paternu already alerted to the poetological theme in Jesih’s poetry. He understands “authorial self-questioning” as a logical consequence of the division of Jesih's poetry between tradition and contemporaneity.2 Kolsek and Bandelj also recognized it as important. Kolsek notes that the question of poetry became the central issue of Jesih's poetry in Kobalt.3 Bandelj agrees with this claim. In his opinion, Kobalt “is gradually starting a discourse on poetic art, on the way of creating the world through poetry, on reality and fictionality of poetic statements”.4 The poetological theme is often connected to existential questioning, which, in relation to Legende, points out T. Stanic.5 Self-reflexive search for the “sense of artistic doing” resolves existential dilemmas. It is a way of “self-redemption”, since the poet, as “not only the creator of poetry, but the creator of the universe-the world”, chooses hope instead of fear by creating.6 The purpose of self-reflexive passages is also disillusion, especially from Soneti onwards, in which “autopoetic reflection and control over the flow of reality into a poem-image” are present.7 Intertextual references to tradition are also characteristic for Jesih. Kolsek emphasizes that Jesih in Volfram makes references to other poets most often in connection to the theme of poetry.8 Through the interpretative analysis of Milan Jesih's poetry, the role and significance of autothematization for the foundation and refinement of creation, and consolidation of the position of the poet and poetry within the wider social context will be explained. Metamorphoses of metapoetic images will show the poet's personal understanding of the source and the meaning of creation, and they will reflect on passing through literary-aesthetic directions and current social circumstances. 1 Matevz Kos, Prevzetnost in pristranost, Ljubljana, Literarno-umetnisko drustvo Literatura, 1996, pp.162-165. 2 Boris Paternu, Od ekspresionizma do postmoderne: studije o slovenskem pesnistvu in jeziku, Ljubljana, Slovenska matica, 1999, p.214. 3 Peter Kolsek, “Podobar in podoba”, Milan Jesih, Verzi: izbrane pesmi, Ljubljana, Mladinska knjiga, 2001, p.210. 4 David Bandelj, “Skrivnost subjekta”, Milan Jesih, Zbrane zbirke, Ljubljana, Studentska zalozba, 2012, p.805. Trans. by M. E. 5 Tatjana Stanic, “Stilisticni postopki v poeziji Milana Jesiha”, Slavisticna rev ja 40/2 (1992), p.183. 6 Bandelj, p.825. Trans. by. M. E. 7 Kolsek, p.219. Trans. by. M. E. 8 Ibidem, p.211. 22 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 2. Theoretical starting points Metapoetry or poetic self-reflection covers a wide range of themes. It includes reflection on the poet and his role, creation or act of writing, inspiration, the poet's attitude towards tradition, poetry profession, literary life - the position of the author in the literary system and the broader socio-historical context; then reflection on poetry or (verbal) art in general, poems as works of art, poetic language, style, themes, language-stylistic and genre conventions, and also the expected reader's response.1 At a certain point, poetic self-reflection is associated with the concept of auto-referentiality.2 Juvan defines auto-reference as a statement that observes itself and its environment. He points out that auto-referentiality is not necessarily always the central theme of the text, it can be partially concealed, and only certain signs in the text point to it.3 E. Müller Zettelmann claims that understanding the metapoetic poems as a tool for a deeper understanding of the author's poetics and the interpretation of the other poems of the author's opus is only one aspect.4 In fact, metalyric can be defined as “an aesthetically self-referential lyrical metadiscourse, which does not refer to an extra-linguistic or extra-literary reality, but which has as its object literature or the lyric genre in all its facets”, and its effect is disillusion.5 Breuer also recognizes the references of literature to the artistic-fictional condition as a feature of metaliterature. This narrower definition of metaliterature or metapoetry is further expanded with the claim, that self-referentiality in poetry includes texts that thematize art in verses and specialties of the poet's profession, as well as texts in which self-referentiality is a structural feature through which they paradoxically treat their own poetic status.6 E. Müller Zettelmann introduces a classification that distinguishes between self-metalyric (primary) and non-self-metalyric (secondary) poems. Primary metalyric songs illuminate their own literarity, their characteristic is the impossibility of distinguishing between the act (action) and the object of textualization. From the paradox of endless exchanges in this hierarchical relationship, the aesthetic effect of breaking the illusion arises. In secondary metapoetry, however, there is not a direct reference to the elements of its own structure. Regarding the integral part of literary communication, with which it deals, it can be divided into subcategories - it can deal 1 Eva Müller Zettelmann, “'A Frenzied Oscillation': Auto-Reflexivity in the Lyric”, Theory into poetry: new approaches to the lyric, Amsterdam, New York, Rodopi, 2005, p.132. Compare to Juvan, 1994, p.278 and Juvan, 2001, p.46. 2 Understanding the auto-referentiality in the context of metapoetry should be distinguished from Jakobson's definition of the poetic function of the language, which is a general formal tendency of the literary text to auto-referentiality. Compare to Müller Zettelmann, p.140. 3 Marko Juvan, Vezi besedila, Ljubljana, Literatura, 2000, p.194. 4 Müller-Zettelmann, p.128. Some of the authors of the prefaces in the collections of Jesih’s poetry lean exactly on autothematical poems in their explanations; for example, Kolsek and Bandelj. 5 Müller-Zettelmann, p.132, p.136. 6 Horst Breuer, “John Keats’ Ode 'To Autumn' als Metapoesie”, Self-reflexivity in literature, ur. Werner Huber, Martin Middeke in Hubert Zapf, Würzburg, Königshausen & Neumann, 2005, pp.49-50. 23 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 with the question of the creator, the text, the receiver, the context (historical, ideological, economic or political background of literary communication), general aesthetic themes, possible are also references to specific works (for example, parody).1 3 Self-reflection in poetry of Milan Jesih 3.1 From modernist resistance to faith in poetry as legacy Metapoetic passages in Jesih’s debut Uran v urinu, gospodar! (1972) express the poetic guidelines of modernism, such as breaking of the established and the classical, the overstepping and overcoming of norms, and the refusal of any external control over the sphere of artistic creation. The articulation of the motive of the mouth as the metaphor of speech - even literary speech - with its imperative form suggests that the speaker gives priority to the new form of expression and poetics - different, more radical, connected with the original, less subjectively sensitive (the motive of the earth and stone): “skrij svoja usta med kamne razlij”.2 The collection also discusses the emptiness, the inadequacy of the existing, in the society established language, from where the tendency to create a new expression arises: “parade floskul besni spanec [...] bil je zdaj na veke bo / vrhovni lapsus”.3 Already in the debut, Jesih's humorous-ironic attitude toward the conventional expectations in connection to the poetic art, such as the theme of exaggerated romantic sentimentality and the associated exclusive motives (heart, pain), develops: “herz und schmerz, zakolne strauss”.4 By self-ironic exposing of his surname in a series of semantically unrelated associations, the poet relativizes the traditional respect for the poet as a person with a special social status, but also rejects the possibility of hierarchical valuation of the activities of the individual (even creation) in a technologically oriented society. The poet expresses a dual attitude: on the one hand, the ironic response to the position of art, recognized in the contemporary society as (only) one of the social practices, and on the other hand, a rebellious posture that denies the prestigious limitations of literature as purely classical high style. The reference to the simultaneous socio-political order is expressed in the verses: “pretehtana teza tolmune zapira, / zaklenjene pesmi so mrtev skovik, / v plamenih sistema se vrvez odstira / in kriv je iskrenosti mlahavi bik”.5 The 1 Müller-Zettelmann, pp.134-137. 2 Milan Jesih, Uran v urinu, gospodar! Maribor, Zalozba Obzorja, 1972, p.15. “hide your mouth between stones spill it”. Literary quotations are translated by M. E. (the author) fort the purpose of this article, unless marked otherwise. 3 Ibidem, p.59. “parades of platitudes angry sleep [...] it was now and it will be for ever/ the supreme lapse”. 4 Ibidem, p.34. “herzundschmerz, curses strauss”. 5 Ibidem, p.50. “the weighed weight is closing the pool, / locked poems are a dead hoot, / in the flames of the system the bustle reveals / and flabby bull is blamed for sincerity”. 24 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 ironic-critical point is directed against the absurd constraints of the system that suppress the artistic expression. Through the ironic profanation of the motif of the muse and the appearance of the motif of a typewriter that suggests both creation and (also) craftsmanship, the romantic belief in the divine inspiration of the poet is questioned: “julij je bil lep, / padec bluz, manevrov, stetje muz”.1 The speaking subject, is, using the plural form of a possessive pronoun (“our”), placed within a group that distances himself from the others - “savages”. With the utterly pejorative denomination he suggests their lack of culture, uncivilization: “divjaki ukradejo sluh, sinonime [...] razzarjajo kamne, razzarjajo rime [.] divjaki so bozji, himne so prazne”.2 The reference to the (content) emptiness of the hymns - poems of glory - alludes to the absence of the one that would be reasonable to celebrate. Simultaneously, with the identification of the savages as gods, he diminishes the expected relationships and destroys the established order. The creative mind confronts the oppositions, obstacles (the theft of hearing and synonyms), and poems can no longer have the same content and aims as in the past. Transcendence is relativized and poetry is no longer its medium. The end of the poem “pijani porazi, alabastrne dojke, / vecerje, kanali, trpljenje, odpevi”3 offers, by listing the motifs of traditional incentives for inspiration and writing (emotional occupation of the subject: suffering, erotic desire in the image of breasts) alongside with banal, negatively connotated images (drunken defeats, canals), unexpected combinations and with them new possibilities for “choruses” - poetry. Already in the title of another poetry collection - Legende (1974) - we can recognize self-reflexivity. Legende finger the tradition and tell in a broad and comprehensive way. The poems told by the god Dakh reflect the intensity of experiencing the creation, the necessity of writing, of telling what the subject is anxious about: “odsmejal sem se v pesmi stiske v vratu, odsmejal sem se / v dolgem nozu, v slavcu”.4 Dakh has already been recognized as a warrior - a poet - in Legende by T. Stanic. In addition, in her opinion, this collection of poetry explicitly exposes the dialogue with previous poetry as a basic principle.5 Exclamation and literary repetition in the title of the song (“Lyric! Lyric!”) imitate the call to action. Lyric, who is supposed to express feelings with the tendency of disinterested pleasure, is included in a new context and gets an unusual activist connotation. The motif of nightingale is subject to the irony. The direct connection of the traditional symbol of beautiful, exalted singing and the poetry with the motif of the knife brings connotations of cold, pain into the aesthetic area and intersects with the expected. Legende testify simultaneous awareness and observance of tradition, and full, enthusiastic orientation and faith in the future. Great intensity, enthusiasm, 1 Ibidem, p.32. “July was beautiful, / falling of blouses, maneuvers, counting the muses”. 2 Ibidem, p.57. “savages steal the hearing, synonyms [...] glowing stones, glowing rhymes [...] savages are divine, hymns are empty”. 3 “drunken defeats, alabaster breasts, / dinners, canals, suffering, choruses”. 4 Milan Jesih, Legende, Ljubljana, Cankarjeva zalozba, 1974, p.74. “I laughed in the poems of distress in the neck, I laughed in the long knife, in the nightingale”. 5 Stanic, p.184. 25 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 acoustically emphasized with frequent exclamation, decisiveness, denial of doubt and hesitation are present also in the poems that discuss the topic of the poet: “o! da se pesnik spoprime s polji in jih golta, / da kakor bela leta rastejo v njegov brutalni spomin - // zanj! se njegova sonetno mladeniska podoba spreminja v ocean!”1 The poet does great, globally important things (the image of the ocean). He can articulate the nuance of the spirit. The connotation of the victim is also noticeable - this is suggested by the verb “to contend with” and the expressive “to bolt”. The poet must accept the victim to achieve greatness in order to secure the memory of him and to exceed his time-limitation. Before reaching this level, he must accept enormous dimensions (“fields”) of the traditions that existed before him (“sonnet youthful image”), to which he expresses an ambivalent attitude: it is at the same time encouragement, the origin of his creation, and responsibility and effort. Poetry is life, energy, will, although the shadow of uncertainty is sometimes incorporated in the verses, for example, through the symbolic motif of the puppet, which introduces the gap between we and them, which is already known from the first collection: “Moja dolgoprsta lirika je volja marionetnega sramu.”2 The reflection on the virtues of a good poet highlights two traps: firstly, the possibility of abusing poetry and poet to achieve some completely utilitarian, even political goals, and then the fear of poetry going into the pathos because of the impossibility of a cogent valuation of the work of art. Through the reflection of tradition and the desire for the future, the speaking subject - the creator - achieves self-positioning in the context of the existing literary milieu and the justification of his doing. To the autothematization of the poem Lakota points the dedication to Ivo Svetina.3 Eva Müller Zettelmann warned of the possibility of recognizing metapoetry with the help of paratext (title, foreword, motto, dedication).4 Kolsek does not recognize the “generational commitment” in the poem, but sees the poet's “concern over his own poetic fate”.5 In the poem, the lyric subject contemplates about the poets, among whom he also places himself: “Za vsakim od nas je tisoc let ostre lepote! / pred vsakim veter! tkanje kovin!”6 In the verses, he presents the awareness of the tradition, the past, in which he exposes beauty as a key value, that is, a sense of aesthetic, which is further emphasized by the adjective “sharp”. Alongside the positive evaluation of the past is confidence in the future, defined by creation. Creation (weaving) will have to follow two principles. First is presented by the image of the wind, which metaphorizes the width, the unlimited, the freedom, the immateriality, and second is articulated in the 1 Jesih, 1974, p.98. “o! that the poet is tackling with the fields and bolting them, / that they as white years grow in his brutal memory - // for him! his sonnet youth image changes into the ocean!” 2 Ibidem, p.115. “My long-fingered lyric is the will of marionette shame.” 3 Jesih cooperated with Ivo Svetina at the beginning of his literary path in the poetry groups 441 and then 442. 4 Muller-Zettelmann, pp.140-141. 5 Kolsek, p.208. 6 Jesih, 1974, p.101. “After each of us is a thousand years of sharp beauty! / ahead of each is wind! weaving of metals!” 26 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 image of metal as something solid, inflexible material.1 In the poem, the determination of the subject with death appears later, but the poet has the power through poetry to face with it: “jadra kot posebno stanje zavesti, usojeno v smrt”.2 In Kobalt and Volfram, poetic reflection becomes even denser and more intense. Kobalt (1976) introduces (the general existential and creative) doubt of the appropriateness of the chosen path in the field of metapoetic reflection. In elongated, elaborate reflections, the sense of power, life and creative energy is dynamically exchanging with a diametrically opposite sensation of uncertainty, disorientation. Enthusiasm is cut by anxiety of death, uncertainty, doubt about the extraordinariness of his own doing and efforts: “neznaten sem, neveden, negotov - / da ni vse moje pesnjenje samo nekaksna spretnost?”3 By awareness of the inevitable finality of an individual, the creation on the other side is increasingly gaining importance as the defense against mortality, and the creations are getting the status of the legacy: “zato me v ogledalu hvalijo dela moja, moja cistota”.4 The motif of the mirror and the motif of the lie, which, as a reference to the nature of the literary work, appear several times in Jesih’s poetry, symbolize the principle of mimesis, the reflection of the real in the literary sense, which has been, since Plato and Aristotle, connected to the dilemma about the poet's place in society and the value of literary work for gaining knowledge. The image of the lie alludes to the condemnation to (only) fictional status of the created. Although the subject tells himself that this “lie” is necessary for a deeper insight, the awareness of this restriction simultaneously inhibits the creative desire of the poet and leads him to waive expression. He accepts silence, although external circumstances (April - spring - time of awakening, growth) are calling for creation: “Ce sem sejal pesem, bom v svoji uri laz pozel, / zato je po molku disal moj smeh ves april, ne po prebujenju”.5 The poet discusses the response to socio-political restriction. The social expectations cannot be fulfilled because the requirements are relative and subjective: “kdo bi mogoce rekel, da sploh nimam barve, pa sem za svojo domovino prerdec”.6 The ambivalence of inner feeling: “vendar se v meni v orkanu koljeta obup in slavohlepje. // Strah me je: bom orglarju kos kalin namest slavec?”7 derives from the awareness of responsibility for poetry and poetic tradition. The poet as an independent, free subject (bird) has to deal with socially established and accepted - “the organist” - but he doubts the success of his resistance to fortified and predefined forces. In addition, he self-determines lithologically. He metaphorically 1 In these verses, Jesih's prediction of future poetic efforts - the collections of poetry Volfram and Kobalt, named after metals - can be identified. 2 “sails as a special state of consciousness, destined to death”. 3 Milan Jesih, Kobalt, Ljubljana, Drzavna zalozba Slovenije, 1976, p.33. “I am insignificant, ignorant, insecure - / is not all of my poetic creating just a kind of skill?” 4 Ibidem, p.1. “therefore my works, my purity praise me in the mirror”. 5 Ibidem, p.6. “If I sow a poem, I will reap a lie when my time comes, / therefore, my smile smelled of silence all through April, not of awakening”. 6 Ibidem, p.39. “[O]ne could possibly say that I do not have a color at all, but I am too red for my homeland”. 7 “[B]ut in me despair and yearn for glory are rumbling in the hurricane. // I'm afraid: will I be up to an organist a bullfinch instead of a nightingale?” 27 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 identifies with “bullfinch”, and not with the conventional image of the “nightingale”. This move reflects noticeable symbolic distancing from the poetic tradition, which is also confirmed by the liberation from the language norms (for example, the use of a short indefinite form or omitting the final vowel). An ironic distance is created which, with an oath of his individual freedom, returns the subject the courage and integrity of his own doing - creation. In a situation where the subject is subjected to creative forces, which are no longer exclusively part of his (conscious) will, there can be a conflict both with external and internal constraints. For this reason, the language also gets new laws, which again allow the naming of objectivity: nasel sem imena za barve svoje hoh barbarske omike, po tisoc prstov mam na vsaki roki, tako da tipkam ko nor, tako da me ne bo ustavila nobena oblast, saj se celo sam ne dohitevam. [...] jezik zmedel v same interjekcije, / jezik sezidal iz trigonometrije.1 Contemplating of the language and its basic aim - communication - is closely related to the open existential question of transience, the awareness of which suddenly impacts the subject so strongly that expression - the foundation of his creative essence - itself begins to evade him: “Sem truden? Prhki, suhi glagoli me tiscijo v grlu - / se bojim? Najbrz sem vedel, da je minljivost moj element?”2 The lyric subject assumes the rhetoric of the defense against the reproach which concerns the essence of poetic expression: “Ni res, da poimenujem stvari z nepravim imenom”.3 The importance of the poet expressing himself freely and not being the subject to internal or external limitations is emphasized by the repetition of the symbol of the nightingale (poet), who changes to negative, poisonous and alien when unrealized: “ce zivega slavca zakopljes v zemljo, tam zraste ancar”.4 Creating is also a necessity from a completely personal aspiration to overcome finality: “Vsak dan bi hotel nanovo spisan list, da je dobra moja steza: / zdaj znajo ubit ze tako, da strohni tudi srce, / jaz pa nocem, da bi od mojega zivljenja ostala samo anekdota.”5 The subject values his creations again as legacy, while the intertextual relationship with Preseren's poetry through the image of a stiff heart is established. Now and here they are “they” - a (incomprehensible) society - capable of destroying the creative heart, while the poet's heart in Preseren's Neiztrohnjeno srce remains untouched because of the untold poems. 1 Ibidem, p.24. “I found names for the colors of my ‘hoh’ barbarian manners, / I have a thousand fingers on each hand, so I type as crazy, / so that no authority will stop me, as I do not even catch up with myself. [...] the language confused itself in the interjections, / built the language from trigonometry”. 2 Ibidem, p.11. “Am I tired? Crumbly, dry verbs are squeezing in my throat - / am I afraid? I must have known that transience is my element?” 3 “It's not true that I name things with a wrong name.” 4 “[I]f you bury a living nightingale in the earth, an ‘ancar’ grows there”. “Ancar” is a tropical tree containing toxic substances. 5 Ibidem, p.17. “Every day I would like an anew written piece of paper, that my track is good: / now they can already kill in a way, that the heart rots as well, / but I do not want, that of my life just an anecdote remained.” 28 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 In Kobalt as well as in Volfram there are passages showing the author's literary horizon.1 If such motifs were placed in more or less associative strings in previous collections of poetry, here a more explicit semantic connotation is revealed. The ambivalent relation to the literary legacy is thematized: from the disappointment because of the semantic emptiness of literature to the highly positively connotated relationship with the poetic contemporaries or predecessors: “Pridete? Pridete! [...] Pridejo, mojstri v rimah, jasnooki, razcveteni, zali v sebi, brezdanji! / pridejo, in jaz, ki zanje zracim bele sobe, jaz jih vodim po lokah in rebreh”.2 A direct tribute to the poet's predecessor is expressed in verses that explicitly relate to the literary image of the door of the Trnovo church from Preseren's sonnet Je od veselga casa teklo leto that grew beyond the boundaries of literary tradition and became a culturally-encoded myth: “Daljno Trnovo, cerkvena vrata - kako je mogel skoznje toliksen pesnik?”3 Jesih expresses his affection through a humorous view when he connects the spiritual greatness of the poet with the physical size of the door. With the intertextual reference to the Preseren’s sonnet, Jesih also reaches the semantic underlining of his own roaming search, which is thematized by the poem. In Volfram, relations between the subject, the society and the world,4 the possibility of the subject’s expression and mortality, are still intensified: “neizrekljiv stojim sred sebe, velik, da mi na temenu se poleti sneg ne skopni, / neizrekljiv z razbolelim, zateklim jezikom srepim v rodovitno resnico, zadnjo clovesko pravico: umri.”5 For the subject's hyperbolic self-presentation, we discover distance to the other, to the world, which stems from the ultimate recognition of the limitations of human existence with death. Reconciliation with it is thorough to the extent that the lyric subject understands it as a right and therefore is no longer only the last necessity, but also the possibility of salvation from the world and also from the burden of his own vocation, because “the swollen tongue” no longer has the function of expression. The lyric subject appears as a seeker of the source of the creative power, since creation cannot be possible by force, because it is the domain of something that reaches beyond the subject. Writing is suppressed or falsified by de- concentration, which arises from the new that occurs inside and outside of him and 1 In the interview, Jesih stressed that reading directly motivates him for writing. See Milan Jesih, “Poezija in humor sta samo dva obraza istega skusnjavca”, Literatura 2.10 (1990), p.29. 2 Jesih, 1976, p.52. “Will you come? Come! [...] They come, masters in rhymes, cleareyed, blooming, beautiful in themselves, boundless! / they come, and I, who air out the white rooms for them, I take them over the meadows and the slopes”. 3 Milan Jesih, Vofram, Ljubljana, Drzavna zalozba Slovenije, 1980, p.13. “Far Trnovo, the church gate - how could a poet like this go through?” 4 Interesting is Jesih's statement - in connection to his presidency of the Society of Slovene Writers - that he tried to “keep away from politics, but not from social”. Milan Jesih, “Tri besede”, Literatura 24.247-248 (2012a), p.92. 5 Jesih, 1980, p.31. “I stand in the midst of myself, unspeakable, huge, that the snow on my vertex does not wane even in the summer, / unspeakable with a painful, swollen tongue I glower in the fertile truth, the last human right: die.” 29 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 which the subject does not catch up with. At the same time this is a way how the script creates independently of the formalization of the technique and consciousness of the subject. This way things can be redefined, thus new evaluating relations can be created: “Pisava mi je usla, bil sem razmisljen, papir je zdaj poln neprepoznavnih krac, in tudi okoli mene / vstaja nov red.”1 In Volfram a more pronounced processing of the topos of time begins: on the one hand, it is subjective time with its relative course, and on the other, it is concrete human time, confined with “finality”. Jesih does not deal with it solely thematically, he finds ways to avoid chronological straightness in the area of poetry. With various - even auto-referential - procedures he negates time as an absolute category: “Vse je zdäj! [...] zdaj v misli silen stih, tocec se mi v skoljko usesa srca v skrivnih cutov temni govorici .”2 At the moment of creation, the time in the lyric subject shrinks or becomes all present independently of the “real” time of existence. The source of creation is something powerful, mysterious, and redemptive. The lyric subject explicitly exposes himself and his act: “Pisem si: 'Vse je zdäj.' Pisem si: 'Bilo in bo sta slepi utvari, v eni spominjanje, v drugi up gospodari.'”3 He denies the existence of the past and the future. With repetition of words from the beginning of the poem in the form of a quote, he creates a mise en abyme, emphasizing the infinite repeatability of the present moment and at the same time, he causes an ontological break between reality and fiction, which will be repeatedly opened up with auto-referential procedures in later collections of his poetry. In the miniature poems of the collection of poetry Usta (1985), which are a unique change in the poetic form, self-reflexive traits are not dominant, but a motif of mirror as the symbol of imitation in artistic creation arises again. This is a more radical warning of the fictional nature of the literary text. The motif of “wise-ish poets”4 should also be pointed out. In its context, the image of heartiness, a sacrifice, that enables reaching the sky, transcendence, is mediated, but at the same time, the ironic distance is established by means of the formation process of the word “wise-ish”. 3.2 Soneti - the formation of postmodern consciousness In Soneti (1989), the relationship between fiction and reality is not just thematized, the self-reflexive passages also create the effect of disillusion. If we stem from the classification of E. Müller Zettelmann, in Soneti, beside the secondary one, the primary metalyric is expressed. From the point of view of self-reflection meta- 1 Ibidem, p.41. “The script escaped me, I was inattentive, the paper is now full of unrecognizable scrabbles, and a new order arises around me.” 2 Ibidem, p.44. “Everything is now! [...] now in my mind a powerful verse, pouring into my shell of the ears of the heart in a dark rumor of the secret senses ...” 3 Ibidem. “I am writing: ‘Everything is now.’ I am writing: ‘It was and will be are blind illusions, in the first remembering, in the second hope is a master.’” Tatjana Stanic wrote, that the poet creates a “distance to the process of creating poetry” with intertwining of the “confession and auto-quotation”. Stanic, p.187. Trans. by M. E. 4 Milan Jesih, Usta, Ljubljana, Mladinska knjiga, 1985, p.33. 30 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 markers , entire poems in brackets begin to appear from Soneti on, which suggests their status as a commentary. Paternu warned that already in the first verse of the collection “Ne vem, ce bom sploh znal povedati”1 the poet explicitly expresses the uncertainty of inspiration and doubt about the ability of expression. Poetry as heavy work is thematized in the final sonnets of the collection, but in them the poet makes the turn into a dream, unrealistic, which compensates for the lack of inspiration.2 The first- person lyric subject in Soneti imitates past postures and images.3 Motifs are undermined with “metaphysical transgressions” and the “diction of an uncertain, unreliable speaking subject”.4 In this collection of poetry, the authentic experience of the subject has often been transformed into a mere image, the poem’s reality is thematized as a part of the imagination, derived from the lyrical subject:5 “Podobo mislim: v vzhodni sobi z zeno.”6 The relativity and the unattainability of the tangible are thematized in hesitation between memory and dreams: “Sanjam spomin a se spominjam sanj?”7 The portrayed love motif, which follows the uncertain starting point, can no longer be understood as a reliable experience of reality and as an authentic emotion of the subject. That is why the beginning of the poem “Takole je bilo”8 can be understood only ironically. In the previous collections of poetry, Jesih thematized the gap between the lie, the reflection and the real, but now, through processes of auto-reference, he puts this gap into the text structure itself. With auto-referential intermediate commentary and self-explanation the lyric subject reveals himself and his actions and establishes an ironic distance to the said: “nekdo, s tem mislim sebe, lej, obstal je / in se, pijan ali zamisljen, ziba”.9 The thematization of a creative individual is mediated through metaphors such as a stone, a dreamy man, and a singer. All metaphors present the existential search and questioning of a man in general and of a man in the narrower sense, doubting the meaningfulness of his mission - creation. The image of the stone appears several times in Jesih's poetry (also in later collections of poetry). Bandelj recognizes the metaphor of stone in the later collection of poetry Mesto sto as the “definition of position of a poet in the world”.10 1 Milan Jesih, Soneti, Celovec, Wieser, 1989, p.5. “I do not know if I can even articulate”. 2 Paternu, pp.214-215. 3 Matevz Kos, Fragmenti o celoti. Poskusi s slovenskim pesnistvom, Ljubljana, LUD Literature (zbirka Novi pristopi), 2007, p.163. 4 Juvan, 2000, p.219. 5 Compare with Kolsek, p.217 and Bandelj, p.811. 6 Jesih, 1989, p.13. “I think a scene: the east room; she and I”. Milan Jesih, Selected Poems, Victoria, TX, London, Dublin, Dalkey Archive Press, 2015, p.6. 7 Jesih, 1989, p.63. “Do I dream a memory or do I remember dreams?” 8 Ibidem, p.85. “That's how it was”. 9 Ibidem, p.46. “[S]omebody, (by this) I mean myself, look, he stopped / and he is, drunk or thoughtful, swaying”. 10 Bandelj, p.822. Trans. by M. E. 31 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Daj Bog mi tu zastati brez spomina, pozabi, da si zgnetel me cloveka, ki delata me ura in obleka: zabij me kamen mlad tu kje v pecinah [...] (kjer seme, cvet in sad so vsi kamniti).1 Being a stone means being motionless, independent of the status in a society, not susceptible to pain and, especially, passing of time. Therefore it is no longer important to bear and a fruit can be stony - the same to the starting point (to the seed). However, the stone with the possibility of “just being” has also a different connotations in this collection: “Je kamen, ki vekove se obraca / v mlakuzi vznak, da kdaj nebo bi videl.”2 In the desire to achieve and discover more than just “being” it turns to the sky, to the metaphysical: “in teznost, nekdaj dana in domaca, // znenada zdavnaj je zgubila smer”.3 The subject - poet - finds the goal in the poem: “ne sredstvo, pesem mu je sama cilj, / dani se, pa prepeva se vsevdilj.”4 The insertion of the last verse into the context of the entire poem attributes to it the ironic point, which focuses on the content of singing: “vse uglasene, kajpada, na temo / ljubezni, Amorja, neznih poljubov / cvetocih lic, vzkipelih prsi”.5 By hyperbolic stringing of cliché love motifs, the distance to a canonically toughened understanding of a love theme as the central in (confessional) poetic creation is established. Although the aesthetic expression (singing) is shown as a purpose, the subject is at the same time aware of the difficulty of the mission, the difficulty of knowing: “a kdor je pregloboko gledal v sanje / in klic v njih prepoznal, ne ve nikoli: / blodil bo dolgo, bridko potovanje, [.] nenehoma forsiral plitvi Cas // in v njem malikoval lepoto rablja”.6 This is a man (an artist), to whom his own limited knowledge and existence has been revealed through his creative quest. The most explicit (and ironic) metapoetic definition of the creative subject is passed in the verses: “Vecerjo najbrz je prevec zalil / lirski subjekt, pa je zadremal v travi.”7 The lyric subject appears in an unenviable position with all the human 1 Jesih, 1989, p.57. Here let me pause, dear God, without a memory. / Forget that you have kneaded me a man / defined by dress and by his wristwatch brand,/ and nail me, as a young stone, to the reef [...] (of stone is every blossom, fruit and seed). Jesih, 2015, p.20. There is also an allusion to the poem by Simon Gregorcic (1844-1906) Cloveka nikar. 2 Jesih, 1989, p.25. “A stone there is that ever struggles up / to lie back in its puddle, glimpse the skies.” Jesih, 2015, p.11. 3 Jesih, 1989, p.25. “[A]nd gravity, once well within its grasp, // has lost its bearings through the centuries”. Jesih, 2015, p.11. 4 Jesih, 1989, p.89. “[N]ot means, the poem is the goal itself, / it is dawning, but he is still singing”. Analyzing the same verse, Matevz Kos warns that poetry in Soneti puts its own aesthetic instead of ideas or ideologies in the first place. Kos, 2007, p.166. 5 Jesih, 1989, p.89. “[A]ll tuned, of course, on the theme / of love, Amor, gentle kisses / blossoming cheeks, effervescent breasts”. 6 bidem, p.35. “[B]ut whoever has looked too deep into the dream / and has recognized the call in them, he never knows: / he will wander a long, mournful journey, [...] constantly forcing the shallow Time // and idealize the beauty of the executioner in it”. 7 Ibidem, 42. “The dinner was probably too celebratory / the lyric subject, he has napped in the grass.” 32 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 physical problems: “Krhek je, zeja ga.”1 In this move M. Kos recognizes mockery of the efforts of literary experts in order to fully understand and explain poetry.2 The lyric subject transforms himself from an abstract literary and theoretical category into a tangible person who feels the primary connection with the earth as the source of life: “k njim bi se zgrudil k rodnim prsim belim, / zaril se v prst in med ostrobne kamne”.3 This emphasizes the author's intentions for poetry, which go from great (spiritual-philosophical) themes to everyday searching of a man, to life in his primacy, to the wondering of the little that is happening in the surroundings. But profanization of the expressed, as its antipole, also implies the search for the transcendent. The poetry collection is rounded up by four metapoetic poems. In them, the author is thinking about the poetic skills, the topics of poetry, the ability of language to name the world, and the belief in poetry. In the context of the reflection on self- reflexive sonnets they were already interpreted by Marko Juvan who argues that the sonnet form after modernism, once again, allows semantically sensible texts, but irony or self-irony are necessary as a cover.4 In the sonnet Kaj na cvetlicnem trgu me zanima?5 modernist esthetic elitism is replaced with the (postmodernistic) metaphor of the square, and poetry is compared with the floral craft. A humorously ironic postmodernist doubt about the traditional transcendental aesthetic criteria is established.6 The writing of poems here does not emanate from the divine inspiration, nor does the poet have a privileged position in society. The poetic creation does not provide him eternal glory, since there are no more valid criteria that can justify its value, in the same way as there is no belief in transcendence: “Ce kdo Vseviden opazuje naju, [...] da puseljc Rata, pa sama ne ve / starka ne kavalirji ne gospe.”7 The colloquial verb “ratati”, written with a capital letter, introduces a stylistic dissonance between the simple and the sublime. It semantically emphasized the goal - “to succeed”. In the context of a litotic description of his own work, which is in the intertextual antithetical relationship with Preseren's verses “mokrocvetoce rozce poezije”,8 and with emphasizing poetry as a technical skill, an ironic doubt arises about the devaluation of the poetic mission to the level of banalized everyday practice. The sonnet “Divjine Idaha" - ni lep nasloV9 unleashes the humorous and autoironic attitude of the subject to himself and his own actions, which he submits to banalization. The poet is, using irony created by the commenting interpolations (“it 1 “He's fragile and he's thirsty.” 2 Kos, 2007, p.161. 3 “He would collapse to them to native white breast, / he would bury himself into earth among the stones.” 4 Juvan, 2000, p.219. 5 Jesih, 1989, p.90. 6 Juvan, 2000, pp.220-221. 7 “If someone Omniscient observes us [...] that the bouquet Succeeds, but she does not know / the old woman or the gentlemen or the ladies.” 8 “These tear-stained flowers of a poet's min”. France Preseren, A Wreath of Sonnets (4/14), trans. by V. de Sola Pinto, http://www.preseren.net/ang/3_poezije/76_sonetni_venec-04.asp. 9 Jesih, 1989, p.91. 33 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 shows”, “as it is said”), distancing from the “eternal themes”, generally accepted as the domain of poetry: “o letnih casih, rozicah, o Njej”.1 The poet is aware of their trivialisation at a time, when the objective truth is no longer available, but he also knows his preconceived determination: “Torej bom, kaze, se lepo naprej / premleval, kot se rece, vecne teme.”2 He replies to the situation with the poem itself: he accepts the tradition, because there is no other possibility, but he establishes an ironic attitude that is the only possible way of approaching the idealized “silence”: “brez mej / iskal glasove cimbolj ... cimbolj neme”.3 The goal of getting to “the highest poem: the poem about nothing” appears also in the sonnet Ko berem Suskinda Parfum, si mislim, which articulates the awareness of the randomness of the connection between the word and its meaning: “prvic, izrazov za vonjave ni, / saj rabi se le kup metonimij”.4 The creation of such a poem is conditioned by the will of God, which introduces ironic tonality in the space of radical doubt about metaphysical transcendence. “The poem of nothing” is therefore not only the goal, the perfection to which the poet strives,5 but the emptied form due to the limited identity between the named and the naming. For this reason, the lyric subject rejects the possibility that he would be the one who is searching for the order “in chaos”, he leaves the task to others: “naj pevec drug prevzame to zalogo”.6 The name “singer” alludes to Preseren's vocabulary, which suggests that the possibility of a poem that could articulate the totality of the world and the subject is moved in the past and disabled. The last sonnet Grizljal sem svincnik ves preljubi dan7 introduces the (neo)romantic faith into the existence of an ideal, transcendental sonnet, and the possibility of “identity between words and things, or between the subject and his text” but at the same time the postmodernist distance is achieved by self-reflexive brackets and capital letters.8 The sonnet has a function of the auto-comment of the entire collection of poetry. It thematizes the waiting for inspiration, which is not there and in which the subject does not even believe when fully conscious (vigilant). The sonnet is also about the unattainability of a poem that would contain and integrate the cognitive, aesthetic and ethical dimension of the work of art: “Obenem Luc, Lepoto in Resnico”9 and in which there would be harmony between the term and the thing “saj roza je bila v imenu roze”.10 Only in dreams such verses are 1 “About seasons, flowers, about Her”. Juvan recognizes “postmodernistic aesthetic guidelines” in self-irony to the articulation of eternal themes that no longer have a confessional value and an “aesthetically privileged position”. Juvan, 2000, pp.220-221. Trans. by M. E. 2 “So, I will, it seems, continue / to think over, as they are called, eternal themes.” 3 “[W]ithout borders / looking for voices, silent as much as possible ... as much as possible”. 4 Jesih, 1989, p.92. “[F]irstly, there are no expressions for smell, since only a lot of metonymy is used”. 5 Soneti contain the recognition of “the poem about nothing”, which has been the goal of the European poetry for centuries, since everything else is just an approximation of ideality. Ivo Svetina, “Ziveti, trpeti, lepo peti”, Ampak: mesecnik za kulturo, politiko in gospodarstvo 3.2 (2002): p.64. 6 “[L]et the other singer take over this stock”. 7 Jesih, 1989, p.93. 8 Juvan, 2000, p.219. 9 “Of Everything: of Beauty, Truth And Light”. Jesih, 2015, p.31. 10 “[F]or in the rose's name there grew a rose”. Ibidem. An allusion to the novel Il nome della rosa by Umberto Eco is notable. 34 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 revealed to the subject, but they are again concealed when he is awake. Nevertheless, he retains his faith in the power of poetry: “A je, pod zvezdami, je tak sonet.”1 The faith in the existence of the poem does not guarantee that it is accessible here and now, it goes further to the indefinable future. Until then the possibilities of poetry remain such, as are thematized and realized by Soneti. As Juvan writes, it is all about “consciousness of poetry as a matter of technical skill”.2 With this belief the collection, that contests a fictional illusion and accepts it as the only option, concludes. 3.3 Clash with time Soneti drugi (1993) is, regarding the literary form and the themes, related to the previous collection: poetry is not exalted in the sphere of divine, redemptive, metaphysical, but is defined as a part of life. Again, the source of inspiration is sleep, a state in which the subject’s consciousness steps into the background. The distance is established to the romantic clichés; the dependence of the literature on intertextual connections, the diligence with the quotes in the manner “everything has already been said” is thematized. The construction of the textual reality results in a constructed formation of a subject, who is also an illusion. The fact that the last poem is written in brackets shows its autothematical value. The core of reflection illustrate the verses: “So pesmi, polne jagnedi ob cestah [...] in so resnicnosti, kjer svetli vlaki”.3 They thematize the fundamental dilemma of the relationship between fiction and reality or rather show the status of reality that is no longer just one. Although reality cannot be objectively determined, the lyric subject finds a solid point in the certainty of his own finality “in je dom v neizrecenosti daljav, / kjer se bom odpocil in spal in spal”.4 In Jambi (2000) the struggle with time and the subject's awareness of his own mortality are at the forefront. The discovery that stopping the time is possible only in the area of literary is thematized, otherwise, regardless of the subject's desires, time passes, which is reflected by the scenes from nature. Faith in immortality is ironically undermined. Explicit meta-warnings (“I think”, “because I maintain it”) break the illusion, but on the other hand, the power of imagination, which creates a fiction area in which the laws of time are no longer valid, is emphasized. The poem Mimo kozolca kolovoz, pocasi thematizes the motionlessness of the moment: “cas kar stoji in se uci zgolj biti”.5 The motif “pred gnojnjakom kljusa stara”6 from the beginning of the poem is, in the end, transformed into a metapoetic motif - 1 “But such a sonnet is, somewhere on earth.” Ibidem. 2 Juvan, 2000, p.220. 3 Milan Jesih, Soneti drugi, Celovec, Wieser, 1993, p.110. “Now, there are poems filled with poplar lanes, [...] and then realities, where shining trans”. Jesih, 2015, p.51. 4 “[A]nd there's home in untold distances / where I will find my rest and sleep an sleep.” Ibidem. 5 Milan Jesih, Jambi, Ljubljana, Mladinska knjiga, 2000, p.18. “[T]ime's standing still and learning just to be”. Jesih, 2015, p.58. 6 “[B]efore a dung cart plods a nag away”. Ibidem. 35 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 the symbol of poetry in the image of a winged horse: “Ko Pegazov brat pod napusc zavije, / se globus spet, brez sunka, zarotira”.1 With the combination of high and low, an ironic perspective to the possibility of stopping the time is established. Stopping the time is possible only in fiction, which is further emphasized by the inclusion of Pegasus and the last verse: “in je zgolj slika zgodnjega vecera”.2 In Tako rekoc (2007), creation is shown as the (only) option of preservation of the memories, and the process itself is compared with sketching, which results in an understanding of the creative process as a skill. Self-reflection works in the direction of disillusion also in this collection - (the literary) world takes place at the level of the said. However, the central purpose of the poem is not so much undermining of the illusion as a shock when the topic of death is included and the reader realizes that he is also a part of the fiction image: “ko ste prelistali na zadnjo stran, / kjer s katastrofo sklene se roman, / je tam tudi za vas za vzorec smrti”.3 The subject resists by a humorous ironic turning point: “Ampak poglej v zadnji kvartini, zena, / stoji, da smrti ni - ce to je uteha -, / ce ni zivljenja, ki da z njo se neha: / ni torej smrt zivljenju podrejena?”4 But also in these verses a metapoetic reminder (meta- literary naming of the quartine as a part of the poem) is obvious. It contests the act of resistance and places it as hypothetically possible only on the literary level. At the level of thematization, mistrust in the power of poetry to overcome the determinant of finality, which is encoded into the individual, arises. The poem Pesnikje star, in sibkost je omama reveals the poet as just a transient being that loses his power: “zdaj zlahka privoljuje, / naj so reci imenom svojim tuje”.5 His mental skills, which had previously been creating, were lost: “zdaj pesmi so ogrodja, zgolj skeleti” and “za aro si je um volila smrt”.6 The highest goal and the ability of poetry - to name things with their own names, which Jesih already thematized in the previous collections of poetry, within the individual, determined by mortality, is no longer accessible. Mesto sto (2007a) tells us with irony that artists are no longer respected, valued and recognized as moral and intellectual authorities. The loss of status in society is followed by a deeper cut - the realization that the works created by the artist do not bring immortality: “Statua stoji v prestolnici v kotlini, [...] ki naj bi voljo genija utelesal, / pa karikira dobre volje smrt.”7 If at the beginning of the poetic pathway (Volfram, Kobalt) Jesih had confidence of surpassing the transience of life in (his own) poetic legacy, in this collection of poetry this option is ironized. 1 “When Pegasus's kin glides down the roof, [.] the globe spins round again, well-oiled and smooth”. Ibidem. 2 “[T]he image of an eve is all that's left.” Ibidem. 3 Milan Jesih, Tako rekoc, Ljubljana, Studentska zalozba, 2007, pp.38-39. “[W]hen you leafed through to the end, / where the novel ends with a disaster, / a pattern of death is also there for you.” 4 Ibidem, p.45. “But look in the last quartine, woman, / stands that there is no death - if it is comforting - / if there is no life that stops with it: / is then death not subordinate to life?” 5 Ibidem, p.20. “[H]e now assents / that things are alien to their names.” Jesih, 2015, p.76. 6 “[T]he poems are more skeletons, mere frames” and “what seath has pre-elected is his mind”. Ibidem. 7 Milan Jesih, Mesto sto, Ljubljana, Cankarjeva zalozba, 2007a, p.19. “The statue stands in the capital in the basin, [...] which the will of genius is supposed to embody, / but it caricatures the death of good will.” 36 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 In Lahkoda (2013), the humorously ironically distant position of the subject towards poetry as something superabundant continues. The poet is no longer a divine singer and is not inspired by the muses, but is ironically connected with the dimension, antithetical to the divine - the devil: “kot vragov tast, vrescava zgaga, / preprican predsokratik -, / natancno in meritorno je navagal // nekaj strupenih stihov, / ki sem po volji usode / jaz avtor njihov. / Pa naj se vas boli zelodec.”1 An important segment of these poems is the integration of the reader into the level of literary reality. The sudden realizing of the reader that he is also a part of the fiction results in a recategorization of the boundaries between the fictional and the real world: on the one hand, it leads to disillusion, and on the other hand, the reality of the reading subject is destructed. He is shown only as a player in a larger structure, and his awareness of reality as subjective: “v jugovi majhen lutkovni teater, / ki v njem so uprizorili te pavliho”. 2 The questioning of the ability of words, the limits of the saying and the fiction, which is conditioned by the language and what the poet reveals with his own imagination, is revealed in the last poem of the collection.3 The lyric subject expresses his powerlessness in order to gain knowledge: “saj niti to ne ve se, [...] koga deklina ljubi. Vas zanima?”4 With the rhetorical question addressed to the readers and the self-reflexive verse, the illusion of the poem is broken: “Tu boljsi sele sploh zacel bi pesem.”5 The poet ironizes the traditional theme of poetry - love, and above all, establishes a self-ironic attitude towards his doing. Reality is not objectively accessible - not even in fiction. 4 Conclusion Poetic self-reflection in the poetry of Milan Jesih highlights individual premises of literary direction, and at the same time reflects personally marked contemplations of poetic art and poet’s peculiar attitude towards creating. Through self-reflection various aspects of poetic creating are thematized, and from Soneti onwards there is also the aesthetic effect of disillusion. Jesih's weighing of his own position and the possibilities of poetry is full of humor and (self)irony. Intertextual dialogue with tradition is also characteristic. The theme of poetry in connection to the social framework is noticeable in the first collection of poetry. The view of the position of a poet (not so much the 1 Milan Jesih, Lahkoda, Ljubljana, Studentska zalozba, 2013, p.53. “[A]s the devil's father-in-law, a squeaky pest, / a convinced pre-Socratician, - / precisely and meritily, he has weighed // some toxic versess / which I am by the will of destiny / their author. / You should also have a stomach pain.” 2 Ibidem, p.119. “[T]he southern has a tiny puppet show / in which you have been featured as a clown”. Jeish, 2015, p.116. 3 As it is typical for Jesih's last poems in collections, it is written in brackets, indicating its autothematical value. 4 Jesih, 2013, p.120. “[B]ecause it is not even known, [...] whom the girl loves. Are you interested?” 5 “Here the better one would only start the poem.” 37 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 importance of poetry) in the society is presented in Mesto sto, but with a complete distance to any concrete political opinion. In Jesih's opus there is a reflection on the power of poetry in general - in the broader apolitical context and in personal intimate understanding. The poetic theme is often associated with existential questioning. Noticeable are thematic metamorphoses of poetry, which is the source of life force, poetry as heritage, to poetry, which is eaten away by doubt of mortality, but finally the persistence in its own doing and faith in the justification of the poetic expression are expressed. Despite the concerns and constant weighting of the positioning and justification of poetry and poet, the justification of creative act and art is obvious. Literature Bandelj, David, “Skrivnost subjekta”, Milan Jesih, Zbrane zbirke, Ljubljana, Studentska zalozba, 2012 Breuer, Horst, “John Keats' Ode 'To Autumn' als Metapoesie”, Seif-reflexivity in literature, ed. by Werner Huber, Martin Middeke and Hubert Zapf, Würzburg: Königshausen & Neumann, 2005: 49-64 Jesih, Milan, Uran v urinu, gospodar! Maribor, Zalozba Obzorja, 1972 Jesih, Milan, Legende, Ljubljana, Cankarjeva zalozba, 1974 Jesih, Milan, Kobalt, Ljubljana, Drzavna zalozba Slovenije, 1976 Jesih, Milan, Volfram, Ljubljana, Drzavna zalozba Slovenije, 1980 Jesih, Milan, Usta, Ljubljana, Mladinska knjiga, 1985 Jesih, Milan, Soneti, Celovec, Wieser, 1989 Jesih, Milan, “Poezija in humor sta samo dva obraza istega skusnjavca”, Literatura 2.10 (1990): 39-47 Jesih, Milan, Soneti drugi, Celovec, Wieser, 1993 Jesih, Milan, Jambi, Ljubljana, Mladinska knjiga, 2000 Jesih, Milan, Tako rekoc, Ljubljana, Studentska zalozba, 2007 Jesih, Milan, Mesto sto, Ljubljana, Cankarjeva zalozba, 2007a Jesih, Milan, Zbrane zbirke, Ljubljana, Studentska zalozba, 2012 Jesih, Milan, “Tri besede”, Literatura 24.247-248 (2012a): 88-102 Jesih, Milan, Lahkoda, Ljubljana, Studentska zalozba, 2013 Jesih, Milan, Selected Poems, Victoria, TX; London; Dublin: Dalkey Archive Press, 2015 Juvan, Marko, “Slovenski Parnasi in Eliziji: literarni kanon in njegove uprizoritve”, Individualni in generacijski ustvatjalni ritmi v slovenskem jeziku, knjizevnosti in kulturi: ob 10-letnici smrti Matje Borsnikove, ed. by Marko Juvan and Tomaz Sajovic, Ljubljana, FF (Obdobja, 14), 1994: 277-315 Juvan, Marko, Vezi besedila, Ljubljana, Literatura, 2000 Juvan, Marko, “Presernova in Puskinova poezija o poeziji”, F. Preseren - A S. Puskin = F. Presern - A. S. Puskin: (ob 200-letnici njunega rojstva) = (k 200-letiju ih rozdenija), ed. by Miha Javornik, Ljubljana, Znanstveni institut Filozofske fakultete, 2001: 43-71 Kolsek, Peter, “Podobar in podoba”, Milan Jesih, Verzi: izbrane pesmi, Ljubljana, Mladinska knjiga, 2001 Kolsek, Peter, “Od cesa se napise pesem?” Ampak 2.4 (2001a): 50-51 Kos, Matevz, Prevzetnost in pristranost, Ljubljana, Literarno-umetnisko drustvo Literatura, 1996 Kos, Matevz, Fragmenti o celoti: poskusi s slovenskim pesnistvom, Ljubljana, LUD Literatura (zbirka Novi pristopi), 2007 Müller-Zettelmann, Eva, “'A Frenzied Oscillation': Auto-Reflexivity in the Lyric”, Theory into poetry: new approaches to the lyric, ed. by Eva Müller-Zettelmann, Margarete Rubik, Amsterdam, New York, Rodopi, 2005: 125-145 38 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 Novak Popov, Irena, Sprehodi po slovenski poeziji, Maribor, Litera, 2003 Obermaier, Sabine, “Möglichkeiten und Grenzen der Interpretation von 'Dichtung über Dichtung' als Schlüssel für eine Poetik mittelhochdeutscher Lyrik”, Mittelalterliche Lyrik: Probleme der Poetik, ed. by Thomas Cramer and Ingrid Kasten, Berlin, Erich Schmidt, 1999: 11-32 Oraic Tolic, Dubravka and Viktor Zmegac, ed., Intertekstualnost & autoreferencjalnost, Zagreb, Zavod za znanost o knjizevnosti Filozofskoga fakulteta Sveucilista u Zagrebu, 1993 Paternu, Boris, Od ekspresionizma do postmoderne: studije o slovenskem pesnistvu in jeziku, Ljubljana, Slovenska matica, 1999 Preseren, France, A Wreath of Sonnets (4/14), trans. by V. de Sola Pinto, http://www.preseren.net/ang/3_poezije/76_sonetni_venec-04.asp , 19. 12. 2017 Rejc, Vladimira, Carovnija pisanja: portreti slovenskih knjizevnikov, Ljubljana, Studentska zalozba, 2005 Stanic, Tatjana, “Stilisticni postopki v poeziji Milana Jesiha”, Slavisticna revija 40.2 (1992): 179- 196 Svetina, Ivo, “Ziveti, trpeti, lepo peti”, Ampak: mesecnik za kulturo, politiko in gospodarstvo 3.2 (2002): 63-64 Stoka, Tea, Prevara ogledala, Ljubljana, Mihelac (zbirka Brevir), 1994 39 https://biblioteca-digitala.ro https://biblioteca-digitala.ro NUME ȘI APELATIVE ROMÂNEȘTI ÎN SCRIERI PE SCOARȚE DE MESTEACĂN NOVGORODENE Vlad D. GHIMPU According to the studying of the collections of the Novgorodean writings on the birch barks published in 1993, 2000, 2004, author extracted a serie of Romanian names and apelatives as the following: Flore, Micula, Sava, Ceren, Oneca, Nejko-Neg, Nejka-Nega, Tudor, Artemie, Serafian, Alfimie-Efimie, Nabol- Nabul, Haritonie, Voneg, Domaneg, Doman, Radoneg, Ilică, Negovit, Taisinee(a), Domitr, Moise, Celpa- Ciolpa-Ciolpan, Efrosenie, Rem, Rema, Bratoneg, Pocta-Pohta, Ostașca, Dracila, Negos, Lama, Negul, Tătânea, Teșat, Pereneg, Bratoneg, Stoineg, Sabin, and dejă, tămâie, ham . From these mentioned above I can underline the specific Romanian names with the ending -ie which I met and in other letters written on the barks, as those with the sufix -an; Neg, diminutived in Russian language as Nejko, inclusive with the definite article and with suffix, Negol and Negos, the same and in compound names. The names more often met are Ostaș, Micula, Sava; more rare nicknames, between them are Ceren, Pocta, Taiș; other Christian - Tudor (which is Fiodor), Domitr-Dumitru, or older Romanian names, never met until now - Rem, Rema and, possible, Sabin. Keywords: Romanian names, Novgorodean Principality, writing the birch barks, Middle Ages, Christian names, nicknames. Autorul a studiat anterior onomastica românească conform mai multor și variatele surse istorice, cum ar fi cele din vechile letopisețe novgorodene, după inscripțiile catedralei Sf. Sofia, în recensămintele agrare medievale (писцовые книги), de asemenea, și din scrierile pe scoarțe de mesteacăn novgorodene, descoperite arheologic în anii 1951-19831, comunicând rezultatele la sesiuni științifice și realizând mai multe studii și articole, publicate în diferite ediții din Republica Moldova2 și România3. Actualmente, se aduce în fața cititorilor și a cercetătorilor o altă serie de investigații, bazate pe volumele publicate în continuare ale scrierilor pe scoarțe de mesteacăn nr. IX, X, și XI, descoperite arheologic între anii 1984-2000 și publicate în anii următori (Ianin, Zalizniak 1993; Ianin, Zalizniank 2000; Ianin, Zalizniak, Ghippius 2004). Volumele în discuție adună în paginile de carte același gen de acte scrise - o corespondență bogată între locuitorii orașului Novgorod și din alte localități ale 1 A se vedea și edițiile anterioare: Arțihovski 1953; Arțihovski 1963; Arțihovski, Borkovski 1958; Arțihovski, Borkovski, 1958; Arțihovski, Borkovski 1963; Arțihovski, Ianin 1978; Arțihovski, Tihomirov 1953; Ianin, Zalizniak 1986. 2 Cf. studiile noastre: Ghimpu 2009; Ghimpu 2010a; Ghimpu 2010b; Ghimpu 2011; Ghimpu 2016. 3 În „Romanoslavica”: Ghimpu 2012; Ghimpu 2015. https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 cnezatului novgorodean, având o tematică diversă: scrisori personale cu subiecte familiale, datornice sau însemnări ce au un vădit caracter economic ce s-au derulat pe parcursul secolelor al Xl-lea - al XV-lea și provin din săpături arheologice realizate în diferite locuri ale orașului Novgorod și din câteva orașe ale cnezatului novgorodean. Zona noastră de interes evidențiază numai o parte a scoarțelor de mesteacăn scrise, cele care atestă nume românești sau apelative ori derivate ale acestora, inclusive, unele dezvoltate pe tărâmul limbii ruse vechi. 1. Scrisoarea nr. 615, sfârșitul secolului al XIII-lea. Поклоняние от Ляха к Флареви... (Ianin, Zalizniak 1993, p. 21). Flarev e apreciat că provine de la Flor. Adus de români, susținem, în cazul nostru, să se fi numit Flore, metatizat, asemănător românescului cunoscut mai târziu Florea. Cu referințe în alte studii1. Pentru „Florea” vezi, inclusiv2 nr. 262, nr. 263 și nr. 443; ca nume și cu prenume, în nr. 417. 2. Scrisoarea nr. 619, secolele al XIV-lea - al XV-lea. Mențiune, a) Сава (Iainin, Zalizniak 1993, pp. 25-26). Alt nume adus, de asemenea, de coloniști români, b) Сава (nr. 724, secolul al XII-lea), întâlnit și în altă scrisoare (nr. 378, secolul al XIII-lea), inclusiv Савел (Săvel), diminitivat, dar și articulat în toponimul Савулино3 (Savulino), de la Savul. 3. Scrisoarea nr. 624, a doua jumătate a secolului al XII-lea. От Куземе ко Цереню... (lanin, Zalizniak 1993, p. 28). Țeren aici este apreciat să fie un nume-poreclă dialectală (novgorodeană), rar, însemnând de fapt Чернь. Se mai întâlnește „țeren”4, însă e numit cazanul de fiert apă sărată (de diluat sarea din apă). Noi susținem să fie acelaș nume Țeren (evoluat în final Țren) - având începutul „Ceren”5, mai timpuriu, apoi „cren”, deci să fie o poreclă de la cazanul de diluat sarea, care s-a numit inițial cu „c”, întâlnit apoi în toate patru variante în ordine inversă, care provine de la românescul „a cerne”6. 4. Scrisoarea nr. 630, prima jumătate a secolului al XII-lea. Mențiune - Нежко, Жирко Онькович, (Ianin, Zalizniak 1993, pp. 31-32). Nejko apreciat că il redă pe Neg (Негъ), diminutivat, corespondentul lui Negu, Neagu. Patronimicul celui de-al doilea se apreciază de la Онька, format, cu probabilitate, de la Onisim. Poate fi, totusi, și de la One, Oni, Onica, Onică, hipocoristic al lui Ionică. Este întâlnit în izvoarele rusești și ca Онишка (Onișca), tot de la Onică7, inclusiv în mediul veps: dad Onic[a] 8 - nenea Onică. 5. Scrisoarea nr. 632, vol. IX, prima jumătate a secolului al XII-lea. Atestat a) Тоудор (Ianin, Zalizniak 1993, pp. 33-34), Тудор, Tudor, întâlnit de timpuriu în Rusia Kieveană. Pe care noi l-am apreciat ca numele românesc Tudor9, evoluat mai 1 Analizate anterior în Ghimpu 2010, p. 105; Ghimpu 2011, p. 34, 43; Ghimpu 2012, p. 242, 250. 2 Din alte scrisori: Ghimpu 2011, p. 39, 40, nr. 262, nr. 263, nr. 443 și nr. 417- Grigore i Fklarevъ; Ghimpu 2012, p. 246-247. 3 Completare din „Писцовые книги”: Ghimpu 2011, p. 39, 81, 93. 4 Cf. și Sreznevski 1989 III, 2, p. 1439, 1441. 5 Cu alte exemple din „Акты XV-XVI”, 1988, p. 45, 70 și Tihomirov, Șcepkina 1952, p. 20. 6 Conform analizei noastre: Ghimpu 2016, p. 33; M. Vasmer îl evaluează ca slav (Vasmer 1987 IV, p. 340). 7 Din „Писцовые книги”: Ghimpu 2011, p. 91. 8 Populație finică din Cnezatul Novgorodean, Ghimpu 2015, p. 61. 9 La noi e înregistrat din evul mediu până astăzi: Gonța 1995, pp. 704-705; Ghimpu 2010, p. 101, 105; Ghimpu 2011, p. 23, 26, 39, 43; Ghimpu 2012, p. 246, 250. 42 https://biblioteca-digitala.ro Romanoslavica vol. LIII nr.2 timpuriu în mediul romanic din Teodor 1. În exemplul actual am găsit și confirmarea în baza exemplelor rusești, cum avem prilejul de a considera, după ce autorii publicației, menționând răspândirea lui din cele mai vechi timpuri, venit în părțile Novgorodului din sud, îi fac o pararelă după o ștampilă de plumb din prima jumătate a secolului al XII-lea, care avea pe o parte chipul și inscripția Sf. Fiodor, iar pe cealaltă imprimat numele Tudor, făcând astfel concluzia: numele Tudor era varianta lui Fiodor (lanin, Zalizniak 1993, p. 34). Alte mențiuni - b) Тодоръка (vol. X, nr. 710, secolul al XII-lea, pp.10-11), Todorka, Todor, Tudor; c) Тудоръ (vol. X, nr. 724, a doua jumătate a secolului al XII-lea, pp. 24-25); d) Тоудоръ, Тудор (vol. XI, nr. 789, secolul al XI-lea, p. 22); e) Тоудорка, Тудор (vol. XI, nr.825, a doua jumătate a secolului al XII-lea, p. 46); f) Тудо(р) (vol. XI, nr.903, secolele al XI-lea - al XII-lea, p. 95), variantă evoluată: Dudor 2, adică tot Tudor. 6. Nr. 638, a doua jumătate a secolului al XII-lea. Ор(т)ьмие (Ianin, Zalizniak 1993, p. 38), Ортемие, Artemie; b) Ортемье, Artemie (nr. 667, a doua jumătate a secolului al XII-lea, p. 57), cu terminația -ie, românească. 7. Nr. 640, a doua jumătate a secolului al XII-lea ... оу которянъ (lanin, Zakizniak 1993, p. 40), cotoreni, apreciați ca „жители Которского погоста”