Petkovic Postsimbolisticka Poetika Ivana v. Lalica

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23

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24

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25

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27

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28

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29

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38

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39

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40

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41

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42

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43

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44

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45

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46

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48

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49

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-.

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50

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51

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52

, - . (, - , - , , , ; , , ; .) (113).

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5. , , ,

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53

, .

historical sens -. .

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54

; , ( , , , ), , - (276).

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55

Mezzogiorno? ( ) .

: . , ( , , ) , . , , , - (131)?

, , , , , , , , -, , - , . - . , , , -. , - : - - ?

. - ; ;

56

- , - , - ; ; historical sens (127, 130).

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57

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58

, .

Jovan Deli

LALIS DIALOGUE WITH CONTEMPORARY SERBIAN POETRY

- Towards an Explicit Poetics of Ivan V. Lali -

Summary

The paper analyses the essays of Ivan V. Lali on 20th-century Serbian poets with a view to arriving at the poets poetic and literary-theoretical criteria, that is, at a kind of a mosaic picture of the epoch.

In his essays, Lalis antinihilistic world-view came to the fore, that is, his notion of poetry as a celebration of the visible. Particular attention was paid to the thematic trinity of death, time and language, and also to the poets poetic views on rhythm, verse, standard forms, especially the sonnet; to the relationship between poetry and myth and religion, the creative process, tradition, quotations and evaluation.

Through his dialogue with contemporary poetry, Lali sharpened his poetic principles and critical criteria, bringing his poetic practice into connection with the works of the poets he liked and wrote about.

59

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p-p - , , , p- p (p, 11). p , -, p , , , , , - , p 19. 20. , , p, - , . p p , (p, 403417), p p :

60

p p p , - ; p p ; p , (, 550).

, , , (p, 1724). - . , , a -p p p . . (, ). p - p p, , p p, (p). . . p :

p p ... p p p , p p, p p -. p p , p, pp p. p- p , , p - - . p pp p pp, :

61

- (, , 9)

- 19. , , . , -, - , , -, , , . a , , 1997, -, . 50 (47) a, , , , a, ( , , . ). , 600 , 2000. , p - p p- (p). p , , (pp , , p ). j- 20. , - , . p , , -

62

, p p .

pp p p, 2003. - (p ) p p p p . p p p p, p p p p p 19. 20. , p p p p - pp p p- p p p p p p - (p, 131). p pp -p p - . p p p pp p , p .

, - , , p, p -. , p , . p , , p, p p , , p , p . - ,

63

, p- -. - , , -. - , p p . pp , - , , , , . -p p - , , pp , p, - p p . p , , - p, , , , -, p p . p -p , - . p , , - ( ). , pp- , p p . p ,

64

p . - , , , , .

, -, p - p . , p (o), p (cyklus) p, p p p ( p . -p). . -, , , ; , -, -. , p , p , , p p , - . , p p - p , - . p p , p . , p, pp, p - , , , , p-

65

. p p p p, p ( p p . ). , , p p - .

, p p -. p , , , . p -, , p p ( 5 , 19461958), p p -, , p , , -p 1951, , p , p (, 391). - , p , p - , p .

- . -, : 1. p- ; 2. , ; 3. ( p p-

66

) - p , ... , p , , p p, p p. , p- pp pp, . p p , p p-p p p p pp (-, 287288).

p, p pp, p -p p p -, p- , p p :

p p p () p -: , , p, p, . ... p p, - p p p p p , , , . p-, p p p

67

p pp p. , p p, , : pp p p p p ( - p , p p) (p, 2223).

p p - p p , p p p. p -, pp (p, , 23), p . , p p - p p, , p p (p, 22).

p p p p , p- p e p, p p - 1946, p p p p pp , p p p p - p. , p pp p p, p p (-p, 1).

68

p p p p, p (1988) p, p -. p , p p p, pp, pp -p, p p p p p p p. p - p, p p ?

p pp p p p p ( ) p p , -, , p p, p p. . , pp . -, p , .

* * * p , -

, p - . p p p p - pp ,

69

pp p , p p . p , p, p , 1953, p - (1955), p p . p -, p, p, p, 1961, p , , p , - 1965. . p p p p p, pp p. p 1969, p 1971. . - pp p , p pp, p . .

p p p p - p p. p p p- , . p p p (1956), ( , ): - , p p (1956), p- p (1958, (1959), p p (1961). p p p.

p 1969 ( p p-p) pp : p p p

70

p. , p p. - . p : - p . - p p , p, 155). p p -, p , ppp , p , p, , p 1969. .

p p . p p . - , pp - , p p . , , - p p, p , , , . p p -.

p p p , , p, p p p p, p, p: p p 5 p , pp , p pp p p p , -

71

, ppp (, , I , 333).

9 . p -, , p 1. , , 2. 3. . p , , p p 3. . p , p , p - 3. . p , , p- 3. . 4. - , p, p 5. . p p , , , , , - p : .

, 1969. pp p- , p p, p, p p . -p (1963) p (1968), p . p . , p ppp p p, p, p, p : p , p (, , p, p - -), p pp p . p p p p , -

72

, ( , p, p, -p, p), , p p, p - p p- .

p pp - , , - p , p p p . , p- , p p , p pp - p , . p p- p , p - , p , . , p , , , p , , p , - .

p p p p pp 1971. , p, p p p -, p p p, p p p - p p, p-, p p-

73

. p p p, p p p p. p p - p, p p p ... (, , 10).

p , p , p p , p ? p p 1961, p p pp p p p -, p , p , pp-p? p pp , p p , p , p- , p p , p , ppp, p- p?

p p, p , p , p p- -. p p p ( ) p-

74

p p p (, 1213). - p p: p p , p, p p p p, - p p. p p -, ( - . ).

p, p - ( ) , - p , p p- . p pp p , . p p , , ( p-, p ).

* * * p

p p p p (19551969) p , p pp , p -p , p p- (, p, p ). , - , , p-

75

p p. p, , p , pp .

p p , - p p, p. p p 33 , pp 3 ; p - 2 , p 21 p 12 p ; 30 p -. p p, p (, p, 1962) , (, p, 1969) . p p - p. p p, pp , : p, p- , , , . p p p, p , p. / p- /p p p/ p , , p . / p p , p p pp, p pp. p-

76

p , p .

31 p- , . - p : - . , -p , - p . p , p, p (14), p , p p . pp- , pp , / - p.

, p , p, p - , p - p . p p , p . 1983. (, , CD), p . p, p , p - p ,

77

p , , -pp, p, p, , pp, , (p , p ). p p .

p, p- p p p -: p p. p p p, p p p, p , - p. p , , p , p pp.

, , , p , p - , p . p p p - , p p . , p p p , - p -, p: , , p, p. .

78

/ , p, , p , . p , p- p, , p , 13 31 , , . , -/ p, p . p p p ( 12 p ) : p, p pp -. pa p p p p , -p .

p p , pp ( ) pp : p , (1, 2, 3, 4, 6, 7, 8, 10) p (29, 30, 31). p p p - . p p (2, 3), - , p, p . p , pp - . , p - 5 p , , p, p

79

p - -.

- , p - . - , , p, p ( , p , p p 1997), p p p -p. p , p p , , - p p p-, p p, p p. - , p p p, , p, , p , , p, - . p, p, p p , - , p p, , p - . p p-p, p pp , p pp ( p ). p

80

p p-, p p: p, . , p p (). p p p , - p, p p.

/ p-, p p. - , p pp (-, 56). -, p p p , p . pp p p p , p p . p , p - p ( p p p - p - p p ). p, p p p (-, 6264; , 6). p p (p) p, p. - , , p - , p , p p p p,

81

p pp . , , p p p ( , 1936). , , - - , , , - (, , 111).

p--, - , p p (, 59; p 21). p -, p p p, p. p pp j p , p p, p - p p pp p ... - , pp p.

, , p , p- , p , . p , e pp- , , p

82

p p, p (. 7: 18). p p pp- : : p p : . , p p (. 7: 1415). , , p pp , , , , pp ( p ).

p - / p, , / p, p p ( ). , p p , , / p p, pp p , / , p p ( ).

p . . , pp, p - : p, , , / p, p, - p, / p , , / , p , - p p p, , pp, p p.

83

p p-. , p - , p p , p p (, 79). , , - p p?

p p -. , , , . , pp , / , p, / p p / p p, // ... p / pp p, // p p ... (). p p p , p p , , / p , , , p. p p, , p p , p p , p p-, p p, p , .

p - . p p p - . p

84

p, p- p p -, , p- . , p, p p p: p, p , (, 1:31). , , pp , p pp , p p- p p . p- pp p , p -p (, 79) p . , , , , p p- p. , p p , p . - p , - .

p , p 20 p p- , , p -. p p pp , p p, pp , p p p p-, p . p p

85

p, p, p p p , - pp p . 35 42 : p (31), p (3), p (1), p p (1).

p , , p-p, pp, p - p: p. . ? / p. p / p. p / , - // . . p, / p, , / -. / . p. p // p , / - pp ... . p , p , p p p p ( p p p p), p - , p p , p, p p-, p p p.

, , , p p p- p. p , p - pp

86

p , p p p p - p 1970. . p, p p p, p, p, p- p. p p p , - , . , p , p , p , p p - p , p p (, , II, 267)

p p p, , - p . p 39 -, 1983. p p , - p, p p p (, CD). p p, , p p . -p, , -p p p, p, , p p p

87

p, p p p .

* * * p

p , - . , p p, p , , *** ( p), , p - . p p , III. p (4 30), . p p . / p po o p p , p p p p- p- p, p p p . - , (p , 21). , p, p p: , , p / ; p p, / p, / p- p (p p, , , II, 162). p

88

p p, p, p .

p , - p , p p . , p , -. , p , p , p- p p . p . , , p p (, 9798). - . p . o, p -, p (, 97). p .

pp

Alexander, R. The Structure of Vasko Popas Poetry, Columbus, 1985., . , - , 1966.Baudelaire, C. Les Fleurs du Mal, Paris, 1961.p-, . . . , , 1987.

89

Cirasa, Robert J. The Lost Works of William Carlos Williams, Medison, 1950.p, .. , - 1988., . , , p, 1999.Ibler, R. Zyklusdichung in den slavichen Literaturen, Peter Lang, Frankfurt am Main, 2000., . . -. . . , p p. p p, p, 1996., . . I, II, Beograd, 1997., . . , . , -, , p, 1971., . . CD, - p 6. p 1983 ( p p ). , . - , Zyklusdichung in den slavichen Literaturen, Peter Lang, Frankfurt am Main, 2000, 287-298., . : , p-, 1996. , . , . p, p , p, p, 1977.Mustard, H. The Lyric Cycle in German Literature, New York, 1946.

90

, . p, , p, 1. VI 1987, 6.Rosenthal, M.L. and Gall, Sally. The Modern Poetic Sequence: The Genius of Modern Poetry, New York, 1983.Petrov, A. Cycles in the Poetry of Vasko Popa, Zyklusdichung in den slavichen Literaturen, Peter Lang, Frankfurt am Main, 2000, 403417.Simic, Ch. V. Popa, The Selected Poems, Oberlin, 1987.p , . p -, p 2003.-p, . p -. p . , p, 2004.-p, . -. . 1969-1996, , 2007. Williams, C. W. Autobiography of William Carlos Williams, New York, 1951.

91

Aleksandar Petrov

CYCLES IN THE POETRY OF IVAN V. LALI: MELISSA

Summary

The study consists of three parts. The fi rst one offers a survey of interpretations of cycles and associated concepts, beginning with the Symbolists. It includes quotes of some of the most relevant defi nitions, presented by poets and scholars alike, whose names are given in the bibliography. The second part contains a comparison of cycles, original and subsequent, in the works of V. Popa and I. V. Lalic from the fi fties and sixties of the past century, and the conclusion that the cycles of the poet of free verse, V. Popa, could be defi ned as bound or strict cycles, while the cycles of the master of conventional verse and sonnets, I.V. Lalic, are mainly free. The third part is a detailed analysis of Lalics sonnet cycle Melissa, highlighting the principles infl uencing their unity (genre, meter, rhyme, common title, apostrophe, lyrical subject, the central character of Melissa as protagonist, the centripetal structural principle, thematic similarities) as well as the principles infl uencing the independisation of certain poems or groups of poems (lack of a central character, centrifugal structural principle, individual titles, thematic differences). These principles are viewed as being connected to the principles of structuring the poems of the cycle.

93

-

.

- - . - - , (. -, , ). - , .

1 - . . (),

1 Peter Hhn / Jens Kiefer: The Narratological Analysis of Lyric Poetry (Studies in English Poetry from 16th to the 20th Century); Walter de Gruyter, Berlin-New York, 2005; Theory into Poetry. New approaches to the Lyric, ed. by Eva Mller-Zettelman and Margarete Rubik, Rodopi B.V, Amsterdam-New York, 2005. .

94

- , - (), - .2 , , . - , , -- . , .

. . - - - , , - , 3, , -, . - - .4

2 . Peter Hhn / Jorg Schnert, Introduction, 2005, p. 1-2.3 . , , , . , . 4, . . , , , 1997, . 39.4 , . - : , , , . 1, , 1997, . 13.

95

5 - (1955) (1996), . - -: , , -, . , , , - . , - - - , , . - , , .6

5 . , - . , . ; di Giacomo, - - Acqua alta . , , , 2003, . 1-13, 111-128; : , - , , /, , 1999, . 77-124; --: . -, . , . 15-23; , . -, , , 2004; : - ( . . . ), , 2006, . 1, . 200-212.6 - frames, scripts. . Plotting the Lyric: Forms of Narration in Poetry, Theory into Poetry. New approaches to the Lyric, Amsterdam-New York, p. 150.

96

- . - , . - - (Discourse Events), . - , -, - .7

. - - - - , , .8 , : , , . , -, ,

7 , .150-151.8 . , . 150.

97

: ) , ) - , ) ) .9 - , - - , , - -/ , - .

10 - , . , , , . .11 , , () , - ,

9 , . 154-169.10 (1956), , , (1961) , , 1997, . 93. .11 - . , . , , , 2003, . 55-56.

98

(Georg Heim, 1882-1912), XX (1976). - , , -, -, . , - , - - .12 :

, , , .

(, . . . , 1976, 139)

, , , .

(, 1997, 93)

12 : Lyrik des Expressionismus, Hrsg. von Silvio Vietta, Max Niemeyer Verlag, Tbingen, 1999, S. 69-72.

99

- (9. ) (14. ); ( , 3. , 21. ; , 18. ), (, 21. ; , 9. ) , - . , - , . , . , , - .13 , , , -, - , : ? / (, 1976, 139). , - - , , , , , . , -. - .

13 . Peter Hhn, Plotting the Lyric: Forms of Narration in Po-etry, p. 158.

100

- . - , - , -, , , - , . - , , : / . - , . , , - - . , . : , , / .

, , , ( ), . , -, ,

101

, -, -. , , . , , , . - (, , ) .

, . , (1997, I, 335). , , , - , . , - . - / , , -, . - - - -

102

- (, ) ( ).

- , , :

, , , ,

() - , , , , . (, -, , ) - -, . , , / ,

103

, - , , . , , , - , , - , -. , . . : ... , , - -. , , .14

, , - , , , - . , , , -, - :

14 , , . 4, . 174.

104

.

, , - - , .

- (1992). , 1992. 15, - -, - . , - , , 16. , . . - - .

15 , , 1997, . 264.16 . , 1997, . 4, . 290.

105

Requiem , - .

, , - , , , . , , - . -, - . - . - , .

- , , - : / - , / - / ( (, 1997, . 3, 169). - / . , , - , , - ,

106

. , - , -, . , , - :

, ; , ; .

, . , , , , . , - - :

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, - ,

107

. . , , , . - , , .

108

Bojana Stojanovi-Pantovi

NARRATIVE IN THE POETRY OF IVAN V. LALI

Summary

Methodological approach of this paper is based on the new theoretical analysis of narrative devices in the lyrical poetry which also enables different function and meaning of the conventional elements of narration. Considering the poetry of the eminent contemporary Serbian poet Ivan V. Lali (1931-1997), we can observe combining of two signifi cant narratological aspects. The fi rst of them is distinguished as frame (empirical experience, topics of travelling, love, loneliness, fear, poetry) and the second one as script, which refers to various intertextuall and cultural quotes and implications. Most often Ivan V. Lali used to combine retrospective with simultaneous narration in order to establish poetical interaction and ballance between the past and present time, as well as the inversion of space in a single, eternal moment. These patterns are being analysed in three of his poems: Ophelia, Inventory of moonlight and Pieta.

109

.

. - - . , , , - (travel poetry). - . , , , -, , - - . , , - - . , , . - . ,

110

.

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1 A , . , . , . , , , , , , 1997, . 13.

111

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112

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113

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114

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, , , -, , . -, , , - . - , , - . ,

2 , , , , , 1992, . 84-85.

115

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116

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117

. , , , () () (). . ( ) - .

- ( ), , , . , , , - -. - , - ( - 3) - -.3 . - , , , 1994, . 195-201.

118

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4 : , - ( . , : , , , 1996, . 69-96) . . (- . , , , 2003, . 129-134).

119

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120

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124

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125

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126

, , , . - , - ; , , -, .

. - . Voyage philosophique - .6 , , , , - , - ( - ). , - / - ( )

6 - ( . , , , 2003, . 85-89) , ( , , , , 1999, . 77-84).

127

. , - 1773. , ( ). - , ; , : / . , - , . , - - :

,

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128

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131

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Slaana Jaimovi

THE ELEMENTS OF TRAVEL WRITING IN THE POETRY OF IVAN V. LALI

Summary

The poems of Ivan V. Lali are never what we might call travelogue in verse, nor do they remain strictly and solely in the domain of the so-called travel poetry. The experience of travelling is just a background, a kind of a factographic journey basis, which is built upon, multiplied and made increasingly complex; in a sense, it is the reality-based ground beyond which one enters the spaces of deep and complex 7 , , , , , 1992, . 84.

132

meanings of Lalis lyrical poetry. Within the framework of the travel writing context, we place fi rst of all those works whose thematic orientation is focused on shaping the model of foreign space from the perspective of the travel writer who describes and evaluates it on the basis of his own experience and the culturological home-country basis from which he sets out on his journey. We encounter the motifs of journey and travelling as early as the fi rst collections of Lalis, and they are realised in various ways, that is to say, they are realised in a lyrical manner in different contexts. At the same time, we must emphasise that such a thematic orientation is crossed with the basic issues and topics of Lalis singing, that is to say, it is rarely realised in itself, and a description of the foreign, almost as a rule, never becomes the dominant purpose of a poem. Following his travel writing stimuli, the author, moving from one collection to another, developed his own travel map, whose footing were the places he loves, adding to the spatial dimension a temporal dimension, myth, history and personal existential experience.

In this way, one can establish a kind of typology of travel writing elements and try to explain how they function in Lalis poetry. The central circle of poems thus singled out is made up of poems in which the motif of journey and lyrical modelling of space is included in the singing of poetic issues (here we refer, fi rst of all, to poems such as The Places We Love, Argonauts, Mnemosine, Vojislavs Garden, Home Country, Map). The travel writing basis from which the poet proceeds, that is to say, where he places his poetry, is fi rst of all the area of the Mediterranean basin, stretching from Israel through Greece to Italy, and space and time are inseparable categories in Lalis poetry, so that a place is inseparable from the event which once took place there. A signifi cant circle of poems with a travel writing basis is made up of those poems marking the privileged places in the home country, and towards the end of the paper, we point out a poem with a very pronounced travel writing basis Voyage philosophique, of which we may say that it is unique in the poets opus, for it lyricises the spaces of north Europe and models an awareness of a different travel-culturological basis.

133

- ,

- 20. , . , -, , , . . -. , , , . - , . , , 1, - . ,, , , - , , , - . - , , , - .

1 , , , , 2002.

134

- . 2, , - . , -. - , , , - (), , . ,, , - , , - -, , , , , . . ,, , . , , , , - .

2 , ,, . , : , , 1969, . V-XX.

135

-- , -. , , , , - , , - , . 3. - - , , - , , , . , , , , - ,

3 - : , ,,- . , , , . 22, . 43, . 6, 1976, . 546-555 , ,, , , , . 51, . 53, . 11-12, 1996, . 1372-1374. , Mare Mediterraneum . , - , , 1996. ,,, - .

136

4. - - (1992) (1996). , , , - . , , - . - , , - - . , ,,5 (Fading Contact, translated by Francis R. Jones), (1975), . , -, , , , , , , . - . ,, , - ,, , : ,, ,

4 , , , 2004, . 1173 - 1174.5 .: Francis R. Jones Introduction : Ivan V. Lalic, Fading Contact, translated by Francis R. Jones, Anvil Press Poetry, Lon-don, 1997, . 9-17.

137

6, . , , - .7 - - . , . ,, : ,, , , . , .8 , .

6 , - - . , : Ivan V. Lali, A Rusty Needle, translated by Francis R. Jones, Poetry Book Society, Anvil press poetry, 1996.7 , ,, : , -, . 51, . 53, . 11-12, 1996, . 1381.8 , ,, . , : , , , 1969, . XI.

138

--, , , - . - , , - , , . , - , , - .

- - , , 9, , , , - , , , . ,,, , , ,, , ,, , ,, . , , . - , - - - . - . -9 : . , -, , , 1997.

139

, , , , , ,, - , - , - a . . , - : ,, , , - . , : , , , - , , , , , , .10 , , , , - ( , ,, , , ,, , , ,,) - , -10 , , , , 1994, . 62-63.

140

(2 15, 1-19). , , (1961), , , , - , . - ,,, ,,, ,,- , ,, . ,,- , , . : ,, , / ; / , , , . , , , : ,, - , / . ,, - - , , . : ,, . -. , , , : ,, - .

,, , - , , , ,,, , ,, / , . - , ,, , ,,- / , -

141

, , ,, . , : ,,, . / , , / , - . , - , . ,, , . ,, , ,,- ,, . - , - - , .

, , 1954. 1961. , , . ,, - , ,,, ,, . ,, , , , , , ,, , / , , -. / / . - , ,

142

, , -. . , - . , , - . - , -, -. , - , . - , , , . : ,, . - , - -.11 ,, , : ,, . , . -11 , ,, : -, , . 51, . 53, . 11-12, 1996, . 1366.

143

, - ,, : ,, , / / , - . - , , . , ,, , -, : ,, , ... / / - / , , / - . ? - , - - 12. -

12 , , - , : ,, . : , , , 2000, ,,, , -: , . , , , , 1996, . 69-125.

144

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13 -. ,, , : ,,, - , , , - , , ,, . : . , , , , 1997, . 26.

146

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. , , , , , ,, , . , . - , . . ,

147

, . , . - . -, .14 , 1968. . , . ,, 1968. , , ,, . , - . ,, ,, -, ,,, , .

14 .: -, -. . , , , 2004, . 88-89, 121-122.

148

, - - . , - - , - - . ,,, , 15 - , ,, 1966. 1968. . . - ,, : ,, , , . ( : , ) ( : ).16 , - - 1966. 1968. , 1992. - .

,,, - , , 15 . , , , , , 1997, . 262-263. 16 , . 263.

149

, ,, ,, . - -, 17. ,, , . - , , 18 . . - . ,,Mezziogiorno, , (, ). - ,, - .

17 . : , ,, : . , , , , , , 1996, . 97-112; , ,, . : . , , , -, , , 1996, . 113-123.18 ,, - , . , - . . .: -, ,, . , : , , 1969, . V-XX.

150

, , . - , -, ,, - , . - , - , , , , . ,, , - . ,,, , - , - , - , , , . , -, , - . , .

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151

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, - , ,,Aqua alta, ,,, ,, ,,. , - , ,,Aqua alta -, . - , , . (, ) - 19. ,,Aqua alta

19 , ,,- - Acqua alta : . , , , 2003, . 111-128.

152

. - Serrenisimu, . : ,, / : . , , - , - : ,, , Serrenisima. - , Serrenisime, -. . Santa Marie , ,, je ,, -. : ,, , Serrenisima, / : / ? , ,, , , - - . - , , : ,, - , / . , , , . - Serrenisime,

153

, -: ,, / , / -, . , , , -, . , . , : ,, . / , Serrenisima. Serrenisime - , ,, , : ,,- . / . ,,Aqua alta , , -, , , . M , . , , . ,,Aqua alti , o . , -

154

, - -, , . .

- , . - ,, ,, 20, - 21 - XX 22. 23 ,,

20 - ,, , . - : ,, . -, . (,, . ), : - XX , . , , , 2005, . 34.21 , . , , - , 2005.22 XX , . , , , 2005.23 - ,, : ,, . M :

155

,, , - , 20. . ,, . , - , - . , , , , . , ,, - , , , 22. 30. 1992. 1. 1990. - , : ,,Dear Charlie,

. - , , ( ...). ! , . , . , , . - ( -

20. : , , , 2003, . 187-221.

156

, -). , ,,, - 19. - , . , - , . : ,, 24.

,, : ,, . , - , - , ,, , , - -. , , . -, , , - , 19. 1989. . ,,

24 . . 1969-1996, , - -, , - , , , 2007, . 197.

157

- Mare Mediterraneum . 25. , ,, - . , , ,, -26 ,, , . , - -, -. , , . ,, / -. - - ,, ,, . - , . , - , , - , . . . : ,, - . - , 25 , Mare Mediterraneum, , , 1996.26 , . 16.

158

. , , - - .27 - . : ,, : . , - -: ,, ,, . 28 -: ,, , / , / , . - (2 15, 1-19) -, - - , , (14, 21-23/26-28) . , - , .

27 , . 116-117.28 , ,, . : , , 2005, . 287-305.

159

, - . , : ,, . , , , - . , - , ,, . . : ,,, . - , .

Svetlana eatovi-Dimitrijevi

LALIS SEA, FROM MEDITERRANEAN SENSUALITY TO OLD TESTAMENT FEAR

Summary

The paper follows the genesis of the motif of the sea, its transformations from the fi rst poems to the last collection Four Canons. The motif of the sea is also interpreted as part of a circle of Mediterranean themes and motifs in Lalis poetry. Ivan V. Lali and Jovan Hristi insisted on the phenomenon of another tradition, which they found in the Mediterranean, on the heritage of the European culture formed in that area, Byzantium and the infl uence of the

160

Mediterranean poets Cavafy and Valry. The motif of the sea belongs to that complex literary-culturological concept of poetry. The paper follows its transformation from the fi rst poems, where it is under the infl uence of the biological inspiration with the Mediterranean or intertextualised through texts belonging to the literature of the era of antiquity, through the sea motif in poems with historical transtextual allusions, where the sea is the border of the empire, a path towards a new life or leading to death. The twofold character of the sea also appears as the sea of salvation in the poems dedicated to Byzantium, Serbian mediaeval history or the life-preserving march of the Serbian people through Albania in the First World War. In the fi nal phase of Lalis poetry, in poems such as Aqua alta, The Blue Tomb, The Sea and The First Poem of the First Canon, the sea motif is increasingly contextualised by means of texts from European literature, but also by means of Christian, Old Testament heritage. The motif of the sea is therefore viewed as a motif that develops and grows increasingly complex in semantic terms throughout the poetic opus of Lalis, from the Mediterranean, perceptual level, to abstract, symbolic notions of human and artistic existence. Through the sea motif, we also review elements of Lalis poetics developed on the principle of the mirror, doubling and the process of the semantisation of external, reality phenomena. That is why the sea is revealed in its biological, culturological and philosophical dimensions.

161

.

A

- : . . - , , -, , . , , - - . , , . - .

- : - , , ,

162

. - , . , , . . , , , !, , , , , , -, , . - , - .

. , , - , 20. . , , , .1 - , , 20. ,

1 - , : - , , 1994.

163

. - -, . , - , (1984), (1992) (1996), - .2

, , - - . , -, , , - - . - , , , , , , , , - , , - . , ,

2 , - , , - , , . . , . , . ( : , , . 172, . 458, . 6, 1996, . 944948.

164

- , 20. . , , , - , . , , , - .

1

. . , - , , , . , ( , 1968)3, : , -. - . , , .3 . : , , 1969, .7374. - .

165

36 - 12 . , , -. , 3 + 2 + 3; , , ( , ), ( -, , ) 5 + 3 ( , - , , ). (3+5 5+3) - , , - , . , (3 + 2 + 3), , - , , , - . - , , - , , .

166

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167

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, - , -- : , , , - , - , . , -, , . -, : / - / . , , , , - , . - , - .4

4 : , -, , , - 1980, . 108114. : . .

168

, , , - , -. , , , , , , : / , , / / , / / , , , / / . , () (), () (-), (), - . - , , . - , , - , . , : , , , ,

. , - . (. , . 111)

169

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170

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,

171

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172

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2

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- ( , 1968)5, 13 . , (7 ), (5 ); 4 , - (8+8) 3 ; 2 , ( 5+3+4). ,

5 . : , , 1969, . 75. - - .

173

, . , 3 6. : 3. , - (1, 6, 7), - (2, 4, 9, 11), 5, 8. 12. , ( 2 3) ; : 10 (9 - : 4 ), 13 (7:4), 14 (3:1), 15 (3:1), 16 (4:0). , , , , .

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174

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6 , -- . : - . , , 2004, . 94.

175

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176

, , , , -, , - (), , .

, - . -, , - . , , ? , , : : , , . (. , 22, 78). - , . , , -, , . , .

), . , , , , , , - , , . , , , - .

177

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3

- . , - . - ( )8 , , 8 . : , , 1984, . 69. .

178

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9 , , , - . , , : ; , . (. , 11, 25)

179

- .

, - , , - , - . , , , , , : , : / / / , / . , , , : : / : / , .10 - , , : , - , - , , . , , , .

10 , , ! -, . (. , 11, 43)

180

, , . , , , - , - . ( ). , - : / , - / , / - . . , , , , , , , . - . , , - , , , .11

11 - : - 20. , . (- . , . 114)

181

( )12, , 79. .. - . , , , . - , , , , . , , , . - , : , / - , / , , / . , , , , -, , , : / / , . , / . , / - , / -.

12 . : , , 1963, . 45-46. , (1969), .

182

. - , , - , - . - : / / , / -. .

- , , . , . - , : ? / - , / , , / , . , . , , , - ( - !), , . , , , , -

183

: / - / , / ? / ? / : . , , , - . , , , , .

, . : , - , . , - . , , , - : : / -/ . / -, . / , . , , -: , . , , , , ,

184

, .

, , - , , , , , . - , - -. - , , , . , , -, , .

4

. - , , , .

185

, - . , , - . , 20. . - , , - .

, , . - , , - - - . , , , , , . , , , , . -, , , . , .

186

, - , - , - : / , / .13 , . , - , . , : - ; , , , , -, . , , : -. . , : - , .

. -

13 . : , . 69.

187

, , . , - , - -. - , , .14

14 . -. , , : , , . . - , , , . - , - , () () . ( : - , , 1992, . 8182, 86 87. , [] , ( ) . ( : : , , 1995, . 21).

188

, . , - , . , .

, - , , , , , , - - -. ; , -. , , , , , .

, , -. , : , . . , , -

, , , .

189

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15 : . , , - , 1952, . 112.16 . , . 193.

190

, - (, , ), - . - .

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17 : , , , 1981, . 36.

191

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18 . : , , 1984, . 20.

192

Ivan Negriorac

THE POETRY OF IVAN V. LALI AND THE DISCOURSE OF MADNESS

Summary

The author of this paper has decided to analyse the above topic because the discourse of madness occupies a very modest but highly indicative place in the poetry of Ivan V. Lali. Analysing the poems The Holy Fool, Abraham in Himself, Imitating Lazarus and Young Woman from Pompeii, where the discourse of madness is unquestionably actualised, the author concludes that Lali was primarily a poet of passionate measure and the principle of wisdom, so that he understood madness as an insufferable disturbance that must somehow be overcome and made meaningful. Lali was primarily interested in the phenomenon of holy madness, wherein some higher form of consciousness that mans mind cannot control is revealed through abnormal, sick behaviour. In all of the above, the author recognises an evident trace of the Cartesian spirit of Lalis poetry.

193

.

, :

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, . - .

1 , , : . , IV , , , 1997, 278.

194

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, -, ( , , , ), 1961. , . - . , , . - , , , , , .

, , 87 , ( ) . - (5+6) 8 , 78 -

2 . , I-IV, , , 1997.

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198

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Sanja Paripovi

IVAN V. LALIS VERSIFICATION

Summary:

The paper reviews all of Lalis collections of poetry, presenting each of them in terms of the number of poems they contain, the type of verse and the form of the stanza. By renewing some basic verse and poem forms, Lali returned to the symbolist tradition. He used Roman and Classical forms such as the sonnet, sestina lirica, strambotta, lauda, terza rima, hexameter. At a moment in time when traditional poetic forms were being rejected, Lali strove precisely for that strict form of rhymed verse and tight composition, which is particularly in evidence in the collection Letter. In the collection entitled Four Canons, he renewed the form of the mediaeval poem, which he wrote using free verse and a modern language. The correlation between the fi rst and the second canon, and between the third and the fourth one, is evident on the level of certain poems and the metre.

The specifi c character of Lalis verse organisation is refl ected in his predilection for organising poems in cycles that sometimes link several books. Shaping his poetic expression in graphic terms, he presented the verses in such a form that he created the illusion of another metric pattern or a different length of stanzas. Even though most of his poems do not rhyme, other phenomena contribute to their rhythm frequent repetition of certain sounds, especially in the form of anaphora, repetition of certain words and entire syntagms in different verses of a poem. The melodic harmony of the verses, even the entire poetic text, is disturbed by pronounced enjambments, which can be found in almost every poem written by Lali.

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The majority of the poems were written using free verse, which cannot be viewed as a refl ection of his attempt to avoid classical metric forms. When it comes to rhymed verse, a specifi c form of iambic hendecasyllable is most in evidence.

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229

Ana PetkoviThe Heritage of Antiquity in the Poetry of Ivan V. Lali

Summary

The text deals with the issue of the role of the literary tradition of antiquity in the poetic opus of Ivan V. Lali. While analysing Lalis three paraphrase-type poems Heraclitus the Dark, On Tacitus and Fragment, we can partly determine the authors from the era of antiquity who are of key importance for his poetics. They are Heraclitus of Ephesus, Pindarus and Cornelius Tacitus. In each of these poems, Lali quotes or paraphrases a part of a work of the antique author in question, and then goes on to present, in a lyrical code, that authors style and the basic idea of the work in question, and to offer his own interpretation of the theme. In the poems On Tacitus and Fragment, based on Tacituss historiographic works Histories and Annals, and on Pindaruss First Olympian Ode, Lali deals with the issue of human hamartia and the role of a poet in the interpretation of this classical problem of antique drama. Through the poem On Tacitus, Lali introduces into his poetry a destructive text, against which he juxtaposes Pindaruss constructive text. In this way, Lali establishes the traditional binary antitheses life/death and chaos/cosmos in these poems. The constructive text is built into the poems fi rst of all by taking over the key metaphors for poetic creation from the literature of antiquity: the metaphors of honey-like words, a mythical singer (Orpheus), nautical metaphors (the myth of the Argonauts), and the metaphors of the garden, archetypal mythologems that were almost de rigeur in the lyrical poetry of antiquity. In his interpretation of the myth of Orpheus, within the framework of the cycle Orpheus on the Deck, Lali gives his poet the role of the archetypal singer and introduces the motif of the metempsychosis of

230

the poet as a semantic basis of poetry about inspiration. The myth of Orpheus and the metaphor of the garden point to Vojislav Ilis idylls and to Virgil, a poet who remains a model writer of cosmic poetry in European literary tradition. The image of bees being born out of the rotten bowels of a slain bull in the concluding part of Vergils Georgics and his poetry of cyclical time remain in the in the poetic subtext of Lalis poetry, as an allusion to the poetic interpretation of the eternal sequence of destruction and rebuilding of the world.

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7 Le Pyrrhonisme, de lhistoire par un bachelier en thologie (1768), XV: Des contes absurdes intituls histoire depuis Tacite. Oeuvres compltes de Voltaire, Mlanges VI. (http://www.voltaire-integral.com/Html/27/14_Pyrrhonisme.html.) Tivadar Palgyi: Une suite ininterrompue de meurtres, de parjures et de dclamations : Voltaire et les Byzantins, Cultivateur de son jardin, Mlanges offerts Monsieur le Professeur Imre Vrs, Budapest, 2006, . 149-171.8 Charles Montesquieu, Grandeur et dcadence des Romain, 1734, XXI, Desordres de lempire dorient, . 185. (http://www.memodata.com/bibliotheque-svg/lecture-livre.jsp?idLivre=Montesquieu-Empire)9 Edward Gibbon, The Decline and Fall of the Roman Empire, W. Strahan and T. Cadell, London 1788. Vol. V, Chapter LIII. B. Yeats u: A Collection of Critical Essays Book, ed. by John Unterecker; Prentice Hall, 1963, str 131-132.10 William Lecky, A history of European Morals from Augustus to Charlemagne 2 vols. (London 1869) II, . 13.

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