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30

Aleksandar Jovanovi
THE POETIC HEIGHTS OF LJUBOMIR SIMOVI
Summary
Ljubomir Simovi made a significant imprint on the
second half of the twentieth and the early twenty-first
century in Serbian poetry. Between his first collection
Slovenske elegije (1958) and the most recent Planeta Dunav
(2009) passed half a century. The thematic-motif and formal range of his verses is extensive. In his poetry sings our
linguistic and cultural memory, the ancient language of
our tradition, but the confrontation with immediate social
events is also present ever since Um za morem (1982), to
the pressure of reality during the last two decades, in Ljuska od jajeta (1998) and Taka (2004). The intersection between rhetorical flourish, dark humour and poetry about
the highest national values became this poets trademark
and, without exaggeration, his most beautiful poems were
created in that key.
Creating poetry from an individual and a collective
position (the multiplied or collective voice of the lyrical
subject), alternations between the urban and the folklore
vocabulary, between a hymnal and a conversational tone,
the use of rhymed and free verse (with numerous variations in between, and, characteristically for Simovi, farapart rhymes), the perception of the world as a book/letter, but as well motifs of little things, landscapes of western Serbia, vegetable markets full of colours and a wealth
of fruits, the underworld rising to meet the heaven, and
the higher world collapsing into the lower all that makes
Simovis verse recognisable and irreplaceable in our contemporary poetry.

31

UDC 821.163.41.09 .
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Petar Pijanovi
QUESTIONS OF LJUBOMIR SIMOVIS
EXPLICIT POETICS
Summary
Starting from open questions connected to the problems of founding and the reliability of an explicit poetic
stance, the author concludes that those questions are asked
with a good reason, but also points out that a research of
explicit poetics is meaningful and reasonable insofar as the
writers (poets) argumentation is well-based, theoretically
and interpretatively reliably motivated. This is concretized
by singling out twenty questions or aspects of Ljubomir
Simovis explicit poetics, which can be very important for
the understanding of his poetry and the interpretation of
his creative techniques and his entire lyrical work.

58

UDC 821.163.41.09-1 .
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76

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Jovan Deli
THE DIALOGICITY OF LJUBOMIR SIMOVIS POETRY
AND THE ORIENTATION TOWARDS THE SPEECH OF
THE OTHER
Summary
This article attempts to prove that dialogicity is one
of the basic characteristics of Simovis poetry. Simovis
poetic word is oriented towards the speech of the Other,

77

the Others word, and usually double-voiced (M. Bakhtin). From this orientation towards the speech of the
Other stems the illusion of orality, living speech and conversational rhythm, openness towards folklore, as well as
the merging of genres. Simovi enriches his lyric with the
experiences of the dramatic play, the dramatic monologue
and prose narratives, sometimes introducing the Skaz
technique, a fictional narrator and a fictional audience.
All these things contribute to the readers impression that
Simovis poetry has been drawn from the well of living
speech.

78

UDC 821.163.41.09-1 .
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Ranko Popovi
THE POWER OF ORDINARY WORDS
Types of defamiliarization in Ljubomir Simovis poetry
Summary
Ljubomir Simovis poetry is based on the organic,
oral fundament of language and the attempt to establish
the poem as a polyphonic, dialogic or polylogic structure.
Simovis most distinctive poetic techniques are defamiliarization and paradoxical punch-lines. The defamiliarization technique exists on different levels which can be ten8 , , , ,
1985, X.

95

tatively designated as lexical, visual, metaphorical, gnomic

(based on meaning), and the level of poetic form.
This article attempts to offer separate theoretical discussions on those levels of poetic defamiliarization and
then to view them in the functional unity of the poetic
text. The paradoxical ending of a poem also represents a
particular form of defamiliarization containing unique artistic functionality, capable of reconciling sharp contrasts
(which Simovi, as a poet, constantly does) and arriving to
particular forms of a lyrical awareness of the world.

96

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120

, axis mundi
.

Radivoje Miki
THE POETIC MYTHOLOGY OF LJUBOMIR SIMOVI
Summary
The poetry of Ljubomir Simovi often contains elements taken from mythology. Although they have different functions, they generally point to the fact that
the world image in this poetss opus is constructed from
two layers one layer suggests historical material and
everyday life, and the other connects that with a deeper
symbolic foundation. In the cycle Konder Simovi does
something completely different. He turns a toponym from
Jelova gora into the basis of an individual poetic myth and
uses it as the means to build another, fundamentally dark
vision of the world and the human race. That way, the poetically constructed myth became a basis for the creation
of a world image where the divine was replaced by the demonic, a world where all important elements are dramatically conflicted.

121

UDC 821.163.41.09-1 .
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,
, (1956)
:
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1 , , ,
1983, VII.

123

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, ,
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, .3 ,
2 , VIIVIII.
3 Pol de Man, Retorika temporalnosti, Problemi moderne kritike
(prev. Gordana Todorovi i Branko Jeli), Beograd 1975, 237.

124

 . , ,
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.

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.
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,

.4
. ,

,5

.

4 , , ,
2002, 99.
5
, Teodor V. Adorno,
Filozofska terminologija: uvod u filozofiju (prev. Slobodan Novakov),
Sarajevo 1986, 20.

125

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6 Pol de Man, Problemi moderne kritike, 237.
7 , , (.
), 1985, 138.
8 : , , (. ),
1999.

126

 o
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,
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,

.10 (1958), (1972),
, (2004)
(2009),
, , , /, ,
.
,
,
, 9 Paul de Man, Allegories of Reading: Figural Language in Rousseau, Nietzsche and Proust, Yale Univerity Press 1979, 122.
10 , , : . , , ,
1987, IXX.

127


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129

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130

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132

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133

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(1998) (2004).
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134


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135

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137

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1986. , . , , , 38.
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138

 , ,
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.19

Predrag Petrovi
THE POETIC RHETORIC OF LJUBOMIR SIMOVI
Summary
From the starting point of Zoran Miis views, as stated in the foreword for the Antologija srpske poezije (1956),
this article initially discusses the question of rhetorics
status in recent Serbian poetry and literary criticism. The
poetry of Ljubomir Simovi displays extraordinary possibilities of the verbal expression influenced by rhetoric,
which enables that expression to achieve its full artistic effect. In Simovis poetry, multiple rhetoric possibilities are
connected to different forms of address (from curses over
prophetic and apocalyptic visions to prayers), dialogue,
persuasive descriptions and descriptive persuasions. All
instances demonstrate the inclination of Simovi poetry
towards the reader, the audience, and that is an important
link between this authors poetry and drama on the levels
of poetics and genre. The principles of rhetorical organisation are already present in Simovis first poetry collection
Slovenske elegije (1958), notably in two autopoetic poems
that alternatively bring into creative focus the search for
a strong, all-comprising poetic word (Traenje rei) and
the poetic image (Vienje Filipa Vinjia). The analysis
of Simovis poetry centres on the poets most recent col19 , , 116.

139

lection Planeta Dunav (2009) which offers interpretations

of various forms of rhetorical questions and paradoxes.
Simovi chose the question as the stronghold form of his
poetry exactly because inquiring into the nature of the
world is perhaps the most authentic form of human existence.

140

II

UDC 821.163.41.09-1 .
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(Lotman 1976: 300).
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(Ibid.).
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153

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(Zori 1980: 335). ,
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2002), , ,
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154


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358).
.

155

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156

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(1990: 261266).
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( 2001: 100).
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158


Zori, Pavle (1980), Ljubomir Simovi pesnik groteskne vizije, Savremenik, god. XXVI, knj. LII, sv. 11.
, (1990 /1973/),
, : . . .
Kordi, Radoman (1980), Poistoveenje sa jezikom,
Savremenik, god. XXVI, knj. LII, sv. 11.
Kuki, Branko (2002), Dualistiki pesnik Ljubomir
Simovi, : Simovi, Ljubomir (2002), Sreda u subotu,
Beograd: Rad, 107111.
Lotman, J. M. (1976 /1970/), Struktura umetnikog
teksta, Beograd: Nolit. Prev. Novica Petkovi.
, (1985),
, : , (1985),
: , : .
, (2001 /1995/),
, : , (2001), ,
: .
, (2005), . 12, :
.

159

Goran Radonji
THE STRUCTURE OF SIMOVIS POETIC IMAGES
Summary
Simovis poetic images are frequently characterized
by fascination with a spectacle. These images are based on
the juxtaposition of two spheres, two worlds, thus highlighting the borderline between them. Therefore the key
motifs of this poetry are motifs which emphasize the point
of division and contact of the two worlds, such as occupation, liberation, door, and mask. However, the borderline
between the worlds is challenged, and a deeper similarity is
perceived between seemingly opposed worlds. At the same
time, the poets point of view is challenged. In Simovis
poetry there is a quest for a place from which the similarities in opposites, and contrariwise, can be apprehended,
a point from which the unity of the world could be envisioned. In such manner, the paradox occurs on various
levels of text. Simovis poetry calls attention to its moral
aspect, as it speaks of the desire to give a meaning to reality.

160

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1958. .

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.
,
,
1 , , ,
1996, 17.

161

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,
,
.
,

, ,
.3
.
,
,
.

(1958)
.

, ,
.
,
2 : , , , 2006, 86.
3 ,
(
, 1994).

162

 .4 :
,
, ,

.
,
, ,

.
,
;5

.
, ,
.
, 4
,
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:
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,
.
5 , I, , 2005, 17.

163


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164


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,
.6
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6 , , ,
2003, 13.

165




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166

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167

 par exellence
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9 :
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, ,
1992, 3435.

168



,10 .11 , , ,
, .
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,
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.12

, ,

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.
. ,
10 , (
), , 1998.
11 : , , : , , 1974.
12 , 67. , ,
, ,
.

169

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170

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, , III,
, VI,
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, , (, 1976).
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13 , , , ,
: , , , , .

171

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.
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14 , . , / , 1998, 210.
15 . , I, 216217.

172

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173


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17 , 22.
18 ,
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, 1974.

174

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( , 1985).

175

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22 . , II, , 2005.

176

 , , ,
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.

, :
,
, .
,
.

ore Despi
ON LJUBOMIR SIMOVIS POETIC STRUCTURE OR
THE PUNCH-LINE OF SERPENTS VENOM
Summary
This article attempts to describe a type of poetic structure which is present in Ljubomir Simovis opus from the
very beginning. The structure in question is the compositional model, based either on an associative sequence of

177

motifs and poetic images, or on the use of poetic narration

in order to shape a worldview, usually suffers a crucial turn
in the end. The article demonstrates on several examples,
especially the poem Vee nad zemljom, the technique of
punch-line which, by its semantic turn, reveals what Hugo
Friedrich calls the negative categories of modern lyrics.
This structure discloses modern sensibility and poetic
reflection which convincingly offers, not harmony in the
worldview and the vision of mankind, but their opposites:
dissonance, tension, disharmony, restlessness, shock, paradox and the absurd, it confuses, warns and encourages
questioning and reinterpretation.

178

UDC 821.163.41.09-1 .
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2 Wandy Wall, Interpreting Poetic Shadows, Criticism, XXIX,
2, 1987, 179.
3 ,
: , XVI, 223, 15. IV 1964, 6.

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poem with sand, ).

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2009.

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, (1997), ,
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. :
.
Maldoon, Paul (2009), The End of the Poem. London :
Faber & Faber.
Wall, Wandy (1987), Interpreting Poetic Shadows,
in: Criticism, XXIX, 2. New York.

186

Bojan orevi
IS IT POSSIBLE TO FINISH A POEM
Summary
Ljubomir Simovi faced the problem of the poems
ending during the writing of his poem Jednog leta u Dubrovniku, an autopoetic response to the oldest preserved
verses in Serbian folk language, written by the Dubrovnikborn Donko Kalievi. This article analyses Simovis
early poetry and the problem of the poems ending is discussed with an awareness of that poetrys contextual basis.
The conclusion is that the poem never really ends; it only
experiences a type of metamorphosis.

187

UDC 821.163.41.09-1 .
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, Pavao Pavlii, Intertekstualnost i intermedijalnost, : Intertekstualnost & intermedijalnost. Uredili: Zvonko Makovi, Magdalena Medari, Dubravka Orai i Pavao Pavlii, Zagreb 1988, 173.
3 ,
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4 Lee Quinby, Anti-Apocalypse, Exercises in Genealogical Criticism, Minneapolis London 1994, p. XIV.
5 , p. XI.

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6 Northrop Frye, Anatomija kritike. Prevela Giga Graan, Zagreb
1979, 162.
7 , 162163.
8 Nortrop Fraj, Veliki kod(eks). Preveli Novica Mili i Dragan
Kujundi, Beograd 1985, 174.

192

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13 Dragan Stojanovi, Ironija i znaenje, Beograd 1984, 141.
14 Linda Hutcheon, Ironys Edge, The theory and politics of irony,
London and New York 1995, p. 61.
15 , 2.

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. (divine apocalypse),
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16 Lee Quinby, Anti-Apocalypse, p. XVI.

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25 Lee Quinby, Anti-Apocalypse, p. XVI.
26 Linda Hutcheon, Ironys Edge, p. 15.

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213

 [] ,
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216

Tihomir Brajovi
THE WORLD UPSIDE-DOWN:
AN IRONICAL APOCALYPSE
IN THE POETRY OF LJUBOMIR SIMOVI
Summary
The author of this text commences with the indications of an apocalyptic imagination in the most recent
poetry collections of Ljubomir Simovi and continues in
the same key with a retrospective elucidation of this poets
opus. The identification of inversion, irony and grotesque
as decisive formative moments of that imagination lead
to an interpretation of ambivalently shaped apocalyptic
motifs and topoi (flood, salvation, eschatological monsters, city-as-bride etc.) who claim an eminent position
in Simovis poetry. The paradoxical cross between the
profane and the sacral, the trivial and the high-minded,
appears as a radical expression of an omnipresent desire
to unite tradition and modernity, history and contemporaneity in a poetically suggested phenomenon of the apocalypse that already happened.

217

UDC 821.163.41.09-1 .
82.0

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219


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, : , Portus
regius, , , , .
.2 ,
: . / . /
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[...]
1 . . , ,
, 1972, 255.
2
12 , , 2008.
.

220

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3 , ,
, 1976, 64.
4 , 65.

221


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5 , Recontre mondiale de poesie, , I, .
23, 1985, 181.

222

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, , . XXXI, . 1011,
1985, 6.

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228

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, 1988, 21.
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, 1989, 167.

229

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230

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231

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232

 , ,14
, ,

-
. [...]
.

Mileta Aimovi Ivkov

LYRICAL MINIATURES OF LJUBOMIR SIMOVI
Summary
Short poems, here called lyrical miniatures, created
during the entire period of Ljubomir Simovis poetic
work, form a separate and recognisable imaginative circle
in his poetry.
He activated creatively various themes from literature, myth, history and contemporary times and submitted them to a striking reduction and condensing of content
and expression. That way it became possible to achieve,
picturesquely and effectively, a high level of universality
of meaning and intellectual depth in those poems. This is
characteristic and representative to such an extent that
lyrical miniatures became an emblematic trait of his poetry.
14 , , ,
, 1958, 18.

233

In this article, we have demonstrated, using the analytic method on selected examples, the great range of
themes, intonation and meaning, as well the value and significance of those poems in Simovis poetry.

234

III

UDC 821.163.41.09-1 .
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.

237

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, 1848. 1849.
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, (2, 144).
, , ?
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238

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239

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(129),

240

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249

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(91); (246),
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(2, 192),
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, 2, 203;


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(245).
(: , 246;
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20.

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(288289):
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252

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253

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255

111;
112;
, 113).
(107)
,

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(85),
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256

 , .
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(2, 75);
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(2, 124), , , , ,
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.
,

257

 , .
.
,
.

Miodrag Maticki
ISTONICE AND LJUBOMIR SIMOVIS
POETIC PRINCIPLES
Summary
Ljubomir Simovis entire poetic opus is viewed as a
mirror of intersections and connections of two essential
lines of the late-twentieth-century Serbian poetry, the one
that follows classic models (Horace, Dositej, Sterija) and
the one nationally charged, with patriotic pathos which
relies to a greater extent on Njego and the epic national
poem. Since the author takes the attitude that the common man is in the very centre of Ljubomir Simovis poetic coordinate system, particular attention is devoted to
the origins of Simovis lyric, his poetic vocabulary, particular metaphors and poetic images, the lavish use and
intertwining of genre forms, mostly of oral derivation, as
well as his relationship with pagan and Christian (Svetosavlje-Orthodox) layers, and contact with esotery (and the
otherworldly).

258

UDC 821.163.41.09-1 .
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.

Slaana Jaimovi
GREECE AND RUSSIA
IN LJUBOMIR SIMOVIS POETRY
Summary
This article interprets two cycles of Ljubomir Simovis
poetry (Putovanje u Grku and Ruske veere) that display,
conditionally speaking, a travelogue character. Travel is always a motive to view the new space and new culture from
the defamiliarized foreign perspective, and consequently

278

this lyrisation of travelling experience became a challenge

for modern poets. At the same time, displacement into an
alien space is a good motive to use lyrical techniques in
order to speak about ones own homeland and the original
culture where the voyage started, to indicate the homely
context in the light of foreign experience, and perform a
particular refraction, copying and reinventing parallels between the domestic and the foreign.
These poems also follow the development of Simovis
dramatic affinities in lyrical texts, different positions of
the lyrical subject, as well as various appearances of irony
and grotesque, results of intersections between high and
low, heavens and hell, the human and the divine, which
are typical for this contemporary poet.

279

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82.09:2-3

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300

Svetlana eatovi Dimitrijevi

HOPE AND LIGHT: THE CULT OF VIRGIN MARY
IN SIMOVIS POETRY
Summary
Contemporary Serbian poetry (I. V. Lali, Lj. Simovi,
M. Bekovi) markedly restores religious motifs and themes
from the late seventies of the XX century onwards, and especially notable are poems dedicated to the Virgin and the
icon of Three-handed Theotokos. This article analyses the
appearances of holiness, contrasted with profane elements
in Simovis poetry. The image of woman as a pure form
of erotisation is viewed as one of the aspects of duration,
existence, partially derived from the image of the Virgin.
On the other hand, various instances show that the woman becomes a prototype for the Virgin Mary and the feast
of Annunciation, and that idea reaches its summit with
Simovi addressing the icon of Three-handed Theotokos.
In this manner, motifs of hope and light are interpreted as
religiously connoted terms through the philosophical and
religious studies of Semyon Frank, Alexander Schmemann
and Pavel Evdokimov. Finally, the motif of the woman is
interpreted as a partial or complete prototype of the Virgin or the miraculous power of Three-handed Theotokos
icon, but always as a source of hope, light and salvation.
That salvation is requested from the Virgin in a prayer and
often marked with contemporary, national, existential accents.

301

UDC 821.163.41.09-1 .
821.163.41.09:398

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1963, 174.
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4 . , . , 177178.

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312

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313


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314

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Dragan Hamovi
THE KOSOVO CHOICE
IN LJUBOMIR SIMOVIS POETRY
Summary
By taking Zoran Miis essay (ta je to kosovsko
opredeljenje, 1961) and his definition of the phrase Kosovo choice for a starting point, we discussed its basic and

316

immanent meaning on the example of Ljubomir Simovis

poetry. Simovi fuses his vocations as a poet and a dramatist and shapes this fundamental national theme in his
play Boj na Kosovu, and his entire poetic opus served as a
preparation for this. However, we were even more interested in the way the Kosovo ethic model is displayed in
the poems with the subject of recent historical calamities,
and the way it is refracted in the destinies of Simovis
unknown lyrical heroes. The poet activates that model on
the individual level, under the pressure of misfortunes
that demand an unambiguous and active human resolution or martyr-like suffering, whether willing or not. Precisely those extreme situations lead the poetic subject or
Simovis lyric heroes from the superficial life values to
the spiritual, epiphanic revelations and conversions. On
the poetic level, this is a union of several defining medieval and modern poetic techniques (chiefly the paradox as
a central poetic instrument and Christian symbolism). Finally, the internal affinity of two poetics separated in time
stems both from the fact that the long-neglected heritage
of the period whose symbolic ending is the battle of Kosovo (which left behind a legend of knightly sacrifice and
martyrdom, the choice of Christs kingdom of heaven)
effectively permeated the self-awareness of Serbian literature during the late XX century, and because both epochs
attempt to raise literary communication to an existential,
even salvational level.

317

UDC 821.163.41.09-1 .
821.163.41.09:821.09

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1919. ,10 20.
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21. ,
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10 Tradition and the Individual Talent, The
Egoist, 1919, The
Sacred Wood: Essays on Poetry and Criticism (1920).
, ,
, 1991, 469475.

333

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: Thomas A. Sebeok, Style in Language, Cambridge Massachusetts, MIT Press, 1960, pp. 350377. :
, : ,
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531.
12 ()
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336


.13

Bojan Jovi
THE POETIC CHOICES OF LJUBOMIR SIMOVI
Summary
In the beginning of this article, we establish the corpus of texts that enter the framework of this analysis. The
significance of the subject, devoted to the margins of Ljubomir Simovis poetry, is pointed out. The techniques of
shaping higher-level poetic structures and correspondent
autopoetic texts are brought into context of XX century
Serbian poetry (Dui, Raki, Pandurovi, Vukadinovi).
The article offers an overview of the most important positions in Simovis texts. The technique is observed in regard to T. S. Eliots and R. Jakobsons stances on poetic
creation, as demonstrated in their work.

13 ,
,
/
1991,
19992002. 2008,
,
, 1999.
.

337

IV

UDC 821.163.41.09-1 .
821.163.41.09-1 .

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1 . , , ,
, 2007, 247252.

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355


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.

Valentina Hamovi
LJUBOMIR SIMOVI AND MILOVAN DANOJLI:
ON A POETIC AFFINITY
Summary
On the basis of mutual poetic recognition visible
in the essays of Ljubomir Simovi, devoted to the opus of
Milovan Danojli (Svete travice Milovana Danojlia,
Opet to, ali drukije ili Danojlieve take otpora), as
well as in the interest Danojli displayed for the poetical
world of Ljubomir Simovi (Pesma kao pohvala kulturi,
20 . , ,
245.

356

Zapis o zlatoustom pesniku), one can perceive several

affinities between those poets. They are visible, firstly, in
the identical relationship of the poet and the possibilities
of the poetic language, as well in their attitude towards
their homeland. It is possible to claim that, after the veristic landscapes of Vojislav Ili, these two reaffirm the rural landscape in Serbian poetry, each with his particular
qualities. The regionalist character of both poets is more
visible, however, in the depiction of suburban life and the
so-called social periphery, and based on this, one can argue
the similarity of poetic techniques. On one hand, a certain number of Simovis poems can be read in the key
of Danojlis naive poem, and in Danojli, one can discern
the technique of grotesque, the dominant stylistic trait of
Simovis poetry.
Both Simovi and Danojli address nature and different forms of naive consciousness as poets of modern
existential experience, so both display a strong need to revitalise the damaged equilibrium of the individual and the
collective. This is one way to understand their immersion
into the picturesque homeliness of their native space, its
landscapes, language, legends and mentality.

357

UDC 821.163.41.09-1 .
821.163.41.09:398

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2 Napokon, tzv. mali oblici usmene knjievnosti, kakvi
su uzreice, poslovice, zagonetke, zatim zaklinjanja, kletve,
zdravice, pa djeje brojalice i dr. strukturirani su tako da su u
cijelosti istovetni s kratkom jezinom formulom ili nizom nekoliko
formula; oni nisu formulativni, nego su same formule (Bokovi-Stulli 1978: 39). , ( - )
. /
, (-) . , ,
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( 2007:
1617) ( )
, -

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388


. , ,
1925.
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1987.
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. . , 1987.
. . , (1852), XI/12,
. . , 19861987.
. . , I, IV, .
. , 1975.
. . , II, V, .
. , 1988.
. , ,
1877.
. , , 2004.
. , ,
1980.
M. Blek, Metafora, : Metafore, figure i znaenja, prir.
L. Kojen, Beograd 1986.
M. Bokovi Stulli, Usmena knjievnost, Povijest
hrvatske knjievnosti, I, Zagreb 1978.
. ,
, ,
185, 484, 4 ( 2009), 478487.

. . , , 1978.
. , , 1982.

389

 . . , ,
, 2007, 521.
H. Krnjevi, Lirski istonici: iz istorije i poetike narodne
poezije, Beograd 1986.
. . , ,
1976.
. . , , , . .
. , , IV, ,
1991.
. , , 1975.
. , , 1979.
. , , 2009.
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. , III, 1999.
, , .
. . , 2001.
. ,
, 1990.
. , , 2005.
. , ,
1973.

390

Sneana Samardija
SHORT ORAL FORMS
IN LJUBOMIR SIMOVIS POETRY
Summary
This article examines artistic techniques that place
Ljubomir Simovis poetry (Sabrane pesme I-II, Belgrade,
1999) close to short oral forms, but also in close proximity
of the entire fund of Serbian oral tradition and culture.
Various links between his poetical opus and folklore forms
are brought into light: from the structure of stylistic figures, appropriation and transformation of certain simple
forms, to the activation of the symbolic potential in poetical images. The semantic wealth of Simovis poetry is also
indicated in the context of the multilayered tradition (pagan heritage, rituals, magic, customs, beliefs, ethnographic core) and the processes of activating associative systems
linked to oral culture, regional characteristics, realia and
historical events.

391

UDC 821.163.41.09-1 .
82.0

: (), , , , , , .

0. ,

.
(,
1994)
.
,

.
1.
,
, , .
( ),
( ).
, .
:
[...] ,
. , ,
/ ( 2000: 24). , -

393

 ,
. , ,
,
, : Imaginacija ovog pesnika dovodi
pred nas izuzetno sreno naene slike, u kojima
zapaamo i matematiki metod slaganja po slinosti
i poetsku matovitost. Drugim reima, dva entiteta
dovedena su u blisku vezu elementom koji je oboma
zajedniki i koji je vorite poreenja, zajedniki trei
lan. Ali, isto tako, ta dva elementa su praktino u
svetu sive racionalnosti beskrajno udaljeni jedan od
drugog i potreban je onaj vazda neodgonetivi blesak
mate da ih najednom dovede u vezu ( 1983:
294).
,
, , : Pri tom, taj proces
metaforizacije i graenja slika [...] sadri u sebi neto
od matematike logike ( 1983: 294). ,


: Kada jednom vidimo tako uoena dva
entiteta, vezana u dotad nezamislivi spoj, najednom
uoavamo svu neumitnost i pristalost takve jedne
kombinacije. Ali, isto tako, poto vidimo da su ovi
elementi sada dovedeni u nove odnose, saznajemo i
o njihovim novim, prethodno potpuno nezamislivim
funkcijama ( 1983: 294).
element iznenaenja zbog neobinosti same veze,
spektakularno poimanje onog treeg preutanog
elementa koji predstavlja spoj, zadovoljstvo

394

kojim je na spekulativni napor nagraen (

1983: 295).
, ,
, , ,
.
,
,
:
,
: , , , , , - (
1996: 47).
2.
,

,
,
:
,
,
( 1996: 12).
,

( ).
, ,
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395

 , , , ,
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[...] ,
, ,
,
( 1996: 38).


,
:
(90); , ! (91);
! (92); , ! (93); / (93);
! (95); /
! (98); ! (98);
, / (99); / (99);
/ !
! (105); ,
(107); (107);
, /
(109); (110).
(.
, , ), ( ), -

396

 .
: Poredbama vrvi svakodnevni govor (gladan
sam kao vuk), u nekim epohama knjievnosti i u
nekim knjievnim vrstama one su tako rei ustaljeni
oblici izraavanja (lijepa kao vila u naoj narodnoj
knjievnosti), a najee, pogotovo u savremenijem
pjesnitvu, one tee povezivanju razliitih sfera ivota
i zapaanju onih slinosti koje kao da upozoravaju
na neki dublji smisao poreivanih pojava (
1990: 78).
.
, ,

: Poredba
ili komparacija [...] nastaje kada se neto s neim
poreuje na osnovi nekih zajednikih osobina koje
redovno nisu neposredno uoljive. Kao i metafora,
koju [...] neki shvaaju kao skraenu poredbu,
poredba upozorava na osobita svojstva stvari, pojava i
osoba, otkrivajui slinosti i razlike koje esto izmiu
neposrednom iskustvu, iznenaenju i uzbuenju
itaoca, ili mu pak ukazuju na odreeni poseban
aspekt promatranja ( 1990: 78). ,

, , , , .

397

, ,
:
/ /
,
/ , /
/ ! (91).1

:
, , /
, , / , ,
, , , ,
(267). ,
(, , ,
):
, , ,
,
,
. , , ( 1996: 26). ,
, , ,
, .2
1 Ono to u poslednjoj slici povezuje dva toliko udaljena entiteta
kao to su talas i burence piva, jeste tertium comparationis, pena
koju imaju i jedan i drugi. tanije, bure piva samo ako se razbije,
ako eksplodira. Ovako uspeno naena slika, meutim, u naem
doivljaju sadri ne samo elemente ulnog utiska, nego takoe i
jednog intelektualnog procesa ( 1983: 295).
2 , ,
( 1996: 56).

398



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(266); !
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399

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401

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403

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404

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405

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411

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(315), (332)
(333).



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412

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413

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( 2000: 23). ,
.
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.
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414

 ,
, .

1996: ,
, , 1, , 1117.
1996: ,
, , 1, , 3641.
2000: ,
, : .
1983: Zvonimir Kosti, Arhaino i moderno,
Beograd: Prosveta.
1996: ,
, , 1, , 1828.
1990: Milivoj Solar, Teorija knjievnosti, Zagreb:
kolska knjiga.
1996: ,
. , , 1, , 4751.
1996: , , , 1,
, 5258.

415

Aleksandar Milanovi
THE COMPARISON IN SIMOVIS POETRY
Summary
The functions of numerous comparisons in Simovis
poetry are different and determined mostly by the position
of the lyrical subject. The comparison switches easily and
swiftly from uniting disparate images and causing surprise
and wonder by the imaginative connection, to the function
of depicting everyday speech with settled comparisons.
Simovis comparisons often contain both hyperboles and
litotes, typically as a reflection of the naive world of the
lyrical subject. The structure of Simovis comparisons
sometimes also contains contrasts or even paradoxes. Particularly effective are comparisons that Simovi uses in
final lines of his poems to stress the point. Unlike most
Serbian poets, Simovi uses comparison as a structural
principle of numerous short poems.

416

UDC 821.163.41.09-1 .
801.6

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/ kxlklmm / noxnopp .
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432

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.

Sanja Paripovi
THE METRIC STRUCTURE
OF LJUBOMIR SIMOVIS LEMOVI
Summary
Aware of the necessity to harmonize form and essence,
to have a compact and balanced form and a poetic idea,
Ljubomir Simovi aspired to establish a singular structure
of his collection lemovi by achieving internal unity. The
12 , 226.

433

modern sensibility reflected in Simovis poems demanded dedicated work on verse organisation and a need for
various formal possibilities. What makes this poetry collection significant on the versification level is the opulence
of metrical patterns. Particular metres are rarely used
throughout the lyric text. Most often, two different metres are combined in an irregular pattern. Rhymed verse
is prevalent, with an occasional and intentional violation
of its rhythmic constancy, but that settled and controlled
rhythm is noticeably interrupted by poems written in a
free verse, which leaves the impression of careful composition and rhythmic diversity.
We could form a separate group of poems written in
the combination of two metres, symmetric twelve-syllable
(6+6) and eleven-syllable (5+6) syllabic verse. There are
ten such poems, nearly a third of the collection. We are not
able to group other poems according to metrical parameters, since each of them has a singular structure.
It is clear that in the poetry book lemovi Simovi attempts to find a rhythmic equivalent for his vision of war
atrocities by using metrical diversity and meaningfully
combining poems written in traditional verse and poems
in free verse. The poet leaves the decision to us metrical
discipline or another, different measure.

434

UDC 821.163.41.09-1 .
398
82.09:27

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.
( 1999: 41).

436

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, , ( 1990: 129).
,
.2
, ,
.
. :
naziv izrazito lirskog knjievnog anra u srednjem
veku, sa religioznim sadrajem i motivacijom, u obliku pesnike apostrofe i obraanja boanskom biu,
anelima i svetim licima kao objektu kulta (RKT
1986: 450). , ,
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:
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( 1997: 135).


,
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): ,
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440

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443

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( 1991: 319).
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444

 ,
.
,
, , ,
. ,
, , ,
,
( 1999: 320). : Simovi ne eli
da poezija ostane u nekom udaljenom zabranu, plod
stvaranja u duhovnom azilu u koji se pesnik povukao
suoen sa stvarnou, ivotom i sopstvenim ulogom
u svetu (Jerkov 2010: 202).


:

.
, ,
,
, . [...] ,
,
(
1991: 314315).

445


2005 , ,
, 2005.
2007 , ,
: , :
, LIV/3, 2007.
1958 , , , . 1. 2,
1958.
1999 , , ,
/ 1999.
1999 , , , : , 1999.
Jerkov 2010 Aleksandar Jerkov, Smisao (srpskog)
stiha. Beograd / Poarevac: Institut za knjievnost i
umetnost / Branievo 2010.
, , : , 2006.
1997 , ., ,
: , :
, 1997.
1997 , .,
, : ,
: ,
1997.
2007 , , , : , XXXIX 2007, 131132, : .
RKT 1986 Renik knjievnih termina, grupa autora,
Beograd: Nolit, 1986.

446

 http://svetosavlje.org/biblioteka/prolog.
1990 , ,
. : , 1990.
1991 , , .
: / / / ,
1991.
2008 , , .
: , 2008.

Bojan olak
THE TECHNIQUE OF SYMBOLISATION IN LJUBOMIR
SIMOVIS POETRY, ON THE EXAMPLE OF THE POEM
MOLITVA SVETOM NESTORU KOJI JE UBIO ALU
A IZ NJE POSTALI MIEVI GUTERI ZMIJE
I DRUGA GAMAD
Summary
This text analyses the symbolisation technique of Ljubomir Simovi, one of the most important Serbian poets of
the second half of the twentieth century, on the example
of the poem Molitva svetom Nestoru koji je ubio alu a iz
nje postali mievi guteri zmije i druga gamad (published
in the collection Uoi treih petlova in 1972). The aim of
this article is to recognise symbols the poet uses in order
to delve into the national and cultural tradition of many
centuries. Attention is called to the significance of folklore tradition in the poetic system of Ljubomir Simovi, as
well as the techniques of its incorporating into the experience of the contemporary world. The article also discusses

447

the poets relationship to the traditional definition of the

prayer genre.

UDC 821.163.41.09-1 .
821.163.41255.4=133.1

: , , ,
, .

. , , ,

, .
, . .

.
, 1969.
. .1 ,
,
,
1970, - .2 ,
, , , . ,
1 Hommage Ren Char, Muse dart moderne de Cret, JuilletAot-Septembre 1969.
2 Interfrences europennes: pome-objet, Muse dart moderne de
Cret, juillet-aot-septembre 1970.

449

 . ,
,
(Maldictions)
.
,
,
.3
1987. Internationale de lImaginaire 8. ,
. :
(Casques), ,
,
(Robert Marteau):
(Sombre automne),
(Sur des aiguilles),
(Aux montagnes de
Valievo), (Larrive des
commandants), (Le
bcher au pope)4 .5
3 ,
,
Hommage Ren Char,
, ,

. .

.
4 : Le cucher au pope.
bcher, , .
: bcheron.
5 Internationale de limaginaire. Posie yougoslave aujourdhui, 8
(automne 1987), pp. 3335. , ,
, ,

450

 1994. Histoire & Anthropologie

8. 20. .6
, , ,
,

, , ,
.7
,
: 19411993.
20. ,
, ,

,
,
, ,
,
, , . , ,
, , ,
.
6 Histoire & Anthropologie, 8 (juillet-septembre 1994), pp. 7374.
, , ,
, , , .
7 Vladimir Claude Fisera, Les Soleils dIllyrie, Strasbourg, ditions
BF, 1992.

451


, .

:8 (Occupation en Serbie
Uice, 1941), 18.
(Le commandant du 18e corps darme), (Libr, rveill)
i (Sous le mont Tchigotte).

,

.
, ,
19411945.
,


, ,
. ,
,
(Une assiette
de pois chiches),
.9

8 , , , 1990.
9 Elan (FEC/ICS), Strasbourg, XXXVIII, mars-avril 1994, p. 8.
,
.

452

 . .
.10
, .

10 :



.
,
.
,
,
,
, ,

, , .
:
SOMBRE AUTOMNE
On ne peut
respirer
cause des tnbres.
Personne qui attende de lOrient une allumette
moins encore une aube ou une toile.
Seule la domestique,
sa jupe ramasse entre les genoux, sagenouille
devant le fourneau ouvert
et comme le luciole qui sallume et steint
son visage par instants sillumine
la braise quelle souffle pour lenflammer.

453

,
, , , , , ,
,
, ,
,
, .11
,
,
. , .
,
,
.

,


.
.
,

. , 11 , ,
, - 1987, 57.

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,

,
,
. , .



,
.12
, ,
, ,
, ,
-,
.13

, .
2001. Les Cahiers de
lAdriatique la mer Noire, ,14 2001.
LAge dHomme,
12 , ,
, 2008, . 481, . 6, 1102 (:
).
13 , (
), , , 17. 1976.
14 Liubomir Simovitch, Miracle Chargan, extrait (trad. du
serbe par Vladimir Andr Cejovic et Anne Renoue), Les Cahiers de
lAdriatique la mer Noire, Montpellier, Association Maison An-

455

 .15
La Compagnie Moiti
Raison Moiti Folie (Thatre de Cavaillon), (Nathalie Chemelny), 14. 2003.16
, ,
.
, ,

Chut
,
. ,
, ,
, ,

, . , ,
.

,

, ,
,
toine Vittez, Centre international de la traduction thatale, 2001
(5e tableau).
15 Liubomir Simovitch, Miracle au Chargan (traduit du serbe
par Jozo Uvoditch et Claire Seleskovitch), Ed. de poche, Lausanne,
LAge dHomme, 2001, 127 p.
16
, 11. ,
. Les Baladins de
Marly de Fourqueux, - (Anne-Sophie
Nedelec), 5. 2003.

456

 . , , ,
, ,

.

, ,
, ,
.17


, Csar, ,

. ,
, ,

,
, ,
,
.18
17 Au bar baroque, Chut. Journal gratuit du Thtre de Cavaillon scne nationale, no 9, janvier-fvrier 2003, pp. 1011.
18 Isabelle Bortolin, Despotisme anglique, Csar. Bimensuel
sur lactualit culturelle: journal gratuit, no. 164, 1er janvier 2003,
p. 3.

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, .
,
,

, . 1989. LAge dHomme ,
,19 (4.
1990) Les Fdrs
,
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,

.20
- :

19 Liubomir Simovitch, Le Thtre ambulant Chopalovitch (drad.

Borka Legras et Anne Renoue), Lausanne, LAge dHomme, 1989.

(Remi
Derrien), 2001.
20


1998. (. CV, 1999, 549551) 2007. (. CXIV,
2008, 442446),
2005.
,
.

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[] ,
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...
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.
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,
,
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.22 - (Marie-Jos
Balusta) , ,
,
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22 Jos Barnerias, Epes en bois et coups... de coeur, La Montagne, Samedi 7 juillet 1990. : Serbian Literary
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23 Le Berry rpublicain, Juillet 1990. : Serbian
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,
.
: ?
?, , , ,
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,
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, ,


, .
Thtre de la Ville
25 Antoine Wicker, Le thtre lombre des potences, Dernires
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(, , ,
, , , , , , ,
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Thtre de la Ville .

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,
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,
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,
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!
!
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1984,



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,
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30 Monique Le Roux, Voyage des comdiens en temps de guerre, Quinzaine littraire, 16 mars 1992. : Serbian
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,

,
,
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, .32

,

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, ( 1941) , ,
,
. ,
,
; , ,
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, , ,

31 Quotidien de Paris, 23 mars 1992. : Serbian
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32 Pierre Marcabru, Un charme singulier, Le Figaro, 30. mars
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33 Herv Gauville, Dambulation dune troupe acerbe, Libration, 6 avril 1992. : Serbian Literary Magazine, pp.
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lHumanit, - :
, ,

: ,
,
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?),
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35 Herv Gauville, Dambulation dune troupe acerbe, Libration, 6 avril 1992. : Serbian Literary Magazine, pp.
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(, ), ,

(Le roman thatral),
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(Hachemi) ,

.
, , , ( )
,
Ay, Carmela (1990),
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....37

36 Jean-Pierre Lonardi, A quelle sainte se vouer?, LHumanit,

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,
( 1997, 2000),
( 1994), ( 1996),
.

468



1998. 2007. .

Le Thtre du Peuple 38
2000.
.39
Rpublicain lorrain,
,
,

,
( : Le
Pupille veut tre tuteur) ,40 : ,
.41
2005. (Jean-Houdremont), (La
Courneuve),
(Jean Maisonnave),
,
.


38 - (Jean-Claude Berutti).
39 . Le Figaro (25. 7. 2000) Le Figaro conome (3. 8. 2000).
40 : Das Mndel Will Vormund within
(1985).
41 Monique Hecker, La Saison 2000 au Thtre du Peuple. Simovitch qui enthousiasme et Handke qui droute, Rpublicain
lorrain, 9 aout 2000.

469

 . 1992, Les Lettres

franaises, -
,

,
,42
Rgion 21. 1993.

( ) . , , ,
( ).43
21. .
, ,
,
, 2. 2001, ,
,
.44
-,
Centre dramatique de La Courneuve 2005. .45
42 Jean-Pierre Han, Le voyage des comdiens, Les lettres francaises, 19 avril 1992. : Serbian Literary Magazine,
p. 122.
43 Rgion, Samedi 21 juillet 1993. : Serbian Literary Magazine, p. 95.
44 Condom, 2 juillet 2001.
45 Impact mdecine, no 141, 814 dcembre 2005.

470



Cassandre
:
, ,
.
, :
,
, , , . , , , , , ,
,
, , , .
,
, , , , .
, , , , , ,
, , ,
:
.
.46
46 Nicolas Romas, Il na pas que le Krcher, il y a aussi la beaut du thtre, Cassandre, no 63, automne 2005.
:
(Didier Mreuse, Le voyage des
comdiens, La Croix, vendredi 3 avril 1992. :
Serbian Literary Magazine, p. 113). ,
,
(Laurence Liban, Le thatre a bras le corps, France
catholique, 10 avril 1992. : Serbian Literary Maga-

471

Jelena Novakovi
LJUBOMIR SIMOVI EN FRANCE
Rsum
Ce travail examine la rception du pote serbe Ljubomir Simovi en France. Les traductions de ses pomes,
peu nombreuses, ne sont pas publies sous forme de recueils, mais seulement dans des numros thmatiques des
revues qui se proposaient de rendre compte de la posie
yougoslave ou serbe (Internationale de lImaginaire, 1987;
Histoire & Anthropologie, 1994). Ces traductions sont de
valeur ingale.
Ljubomir Simovi est beaucoup plus connu en France comme auteur de pices de thtre o le va-et-vient
constant entre la vie et le rve, le rel et limaginaire produit un effet potique. Publi dans la traduction franaise
en 1989, par LAge dHomme, Le Thtre ambulant Chopalovitch est reprsent lanne suivante sur la scne du
thtre Les Fdrs Monluon (mise en scne de JeanPaul Wenzel) et ensuite sur plusieurs dautres scnes de
thtres franais et francophones. En 2001 LAge dHomme publie Miracle au Chargan qui sera jou en 2003 par
La Compagnie Moiti RaisonMoiti Folie au Thatre de
Cavaillon (mise en scne de Nathalie Chemelny). Ces deux
pices ont une rception trs favorable dans la presse franaise, o paraissent plusieurs textes logieux. Cest surtout
le cas du Thtre ambulant Chopalovitch dont laction se
passe en 1941 et que les critiques considrent souvent
zine, p. 121). !

, 10. 11. , Machine Thtre,
La Dpche du midi 13. 2001.

472

dans le contexte des conflits en ex-Yougoslavie. En se demandant quel est la place du thatre pendant les priodes
de violence, face des gens qui tentent de faire lhistoire
ou qui la subissent, ils soulignent le caractre universel et
profondment humain de cette pice qui met en jeu la perception de la ralit et ses dformations pour conduire les
personnages sinterroger sur leur existence et leur identit.

473

UDC 821.163.41.09-1 .
821.131.1255.4=163.41
821.131.1.09-104/14

:
, , , , .

, . ,
, :

,
,

. e
,
.
- ,

.1

:
, ,
1 . , , , 1/1996, 29.

475

 ,
, ,
.2 ,
,
, ,
, , ,
,
, , ,
.3

,



.4 perturbationes animi
: gaudium, metus, cupiditas dolor
, / , /
, / ,
.
,
2 , 30.
3 . ,
, , 1/1996, 37.
4 . , ,
, 12/2003, 14.

476


.

(2009), 1968.
[ ]
,
. aj a
.
, ,
, .
, ,

,
: , 13. 14.
,
.
1974. , ,
,

( ), : . ,
,
. 44
, 15, .:

477

 , ,
:
. 22: A qualunque animale alberga in terra /

. 30: Giovene donna, sotto un verde lauro /

. 32: Quanto pi mav[v]icino al giorno extremo /

. 52: Non al suo amante pi Dana piacque /

. 54: Perchal viso dAmor portava insegna /

. 90: Erano i capei doro a laura sparsi /

. 106: Nova angeletta sovra lale accorta / ,
. 126: Chiare, fresche et dolci acque / ,

. 189: Passa la nave mia colma doblio / ,

. 194: Laura gentil, che rasserena i poggi /

. 216: Tutto l d piango; et poi la notte, quando /
, ,
. 310: Zephiro torna, e l bel tempo rimena /
,
. 351: Dolci durezze, et placide repulse / ,

. 353: Vago augelletto che cantando vai /

478

. 365: I vo piangendo i miei passati tempi / .

15 ,
, . Chiare, fresche et dolci
acque / , .
(dulced) , .

incipit-a, (
):
, ,
,5
: Ciascuna fresca e dolce
fontanella / prende in lisciar sua chiarez e vertute.
in lisciar sua .
:
come se lesordio funzionasse da nucleo generatore
da cui procede il seguito dellennunciato, intessuto di
fili tipici collegati a questo nucleo.6
5 Guido Cavalcanti (, 1255 , 1300)
13.
, ,
De vulgari eloquentia, .
,
, .
6 P. Zumthor, Semiologia e poetica medievale, Milano: Feltrinelli,
1973, 95:

479

 . 22,
, ,
(Arnaut
Daniel) , ,
Al poco giorno. (alba)
, , , , : 1.
; 2. , ; 3.
; 4.
; 5. ,
; 6. , !
(congedo)
adynaton .7
. 22

. , .

.

.
,
,

.
7 , , fabbro del parlar materno,
fra tutti il primo.
De vulgari eloquentia
.

480

 .8 ,
, . , . ,

;
,9
,
,

,
. , ,
,
,
.
,
(Harmonia putatur concordabilis
inaequalium vocum commixtio).
, , , , A
qualunque animale alberga in terra.
(, , , , , locus
amoenus, )
8 V. C. Giunta, La poesia italiana nellet di Dante. La linea Bonagiunta-Guinizzelli, Bologna: il Mulino, 1998; Isti, Codici. Saggi sulla
poesia del Medioevo, Bologna: il Mulino, 2005.
9 P. Zumthor, . , 8586.

481

: , , , , , ,
. , , animale,
,
() , essere animato;
se non alquanti, travagliare.
Et io , .
incipit- , non credo
s,
(
), non
credo s ,
.10
Vedutho la
lucente, ,
, 1971. (XXVI / . LIII) :
.
15 , Al
cor gentil rempeira sempre Amore
- ; ,

10 Guido Guinizelli (, 1235 , 1276),
-
, .
.
, y De vulgari eloquentia, maximus
.
Amor e l cor gentil sono una cosa (Vita Nova).

482

 .11 ,
.
non credos

(
):
: Non credo che pascesse mai per selva
s aspra fera, o di notte o di giorno,
come costei chi piango a lombra e al sole
e non mi stanca primo sonno od alba,
ch ben chi sia mortal corpo di terra
lo mio fermo desir vien da le stelle.
:
, , ,
,
,
, ,
.
: viso de neve colorato in grana,
occhi lucenti, gai e pien damore;
non credo che nel mondo sia cristiana
s piena di biltate e di valore.
: , ,
, ;

.
11 Guittone dArezzo (, 1235 , 1294)
: 50 251 ;
.

483


,
luce: lucente,
: ( ), :
: Vedut ho la lucente stella diana
chapare anzi che l giorno rend albore,
cha preso forma di figura umana;
sovr ogn altra me par che dea splendore;
viso de neve colorato in grana,
occhi lucenti, gai e pien damore;
non credo che nel mondo sia cristian
s piena di biltate e di valore.
Ed io dal suo valor son assalito
con s fera battaglia di sospiri
chavanti a lei de dir non seri ardito.
Cos conoscessella i miei disiri!
ch, senza dir, de lei seria servito
per la piet chavrebbe de martiri.

: ,
,
;
.
, ,
, ;

.

484

 ,
,
.
,

, !

( ) . 52 .
( ), ABA BCB CC, (), Laura = Laura,
. 90. cha laura il bago
e biondo capel chiuda
,
. 90,
: Erano i capei doro a laura sparsi, .
:
.
. 54, .
Perchal viso dAmor
portava insegna, :
.
linsegna damore
. , imitatio vitae . , , , , ,

485

-, . , Allor mi strinsi e tornai in dietro ,

,
, (e gridavan s alto, / chi
mi strinsi al poeta per sospetto. / Vegna Medusa: s l
farem di smalto / dicevan tutte riguardando in giuso:
/ mal non vengiammo in Teseo lassalto. / Volgiti in
dietro e tein lo viso chiuso; / ch se il Gorgn si motra
e tu l vedessi, / nulla sarebbe del tornar mai suso,
Inf., IX, 5057).
, a mezzo l giorno

, .
24 , , 35 ,
:
: Allor mi strinsi a lombra dun bel faggio,
tutto pensoso, e rimirando intorno
vidi assai periglioso il mio viaggio:
e tornai in dietro quasi a mezzo l giorno.
: ,
,
;
.

o /.
, ,
,

486

 ,
.12
( )

. 126, Chiare, fresche et dolci acque,
ove,
, ,
. nelle, quali immerse, al quale le piacque
appoggiare il suo bel fianco dal luogo l dove,
,
:
: Chiare fresche e dolci acque
ove le belle membra
pose colei che sola a me par donna;
gentil ramo ove piacque,
con sospir mi rimembra,
a lei di fare al bel fianco colonna;
erba e fior che la gonna
leggiadra ricoverse
co l angelico seno;
aere sacro sereno
ove Amor co begli occhi il cor mapperse:
date udienzia insieme
a le dolenti mie parole estreme.
: , ,


;

12 . , , , 1/1996, 3435.

487

( )
;
,
,
;
,
:
, ,
, .

. . 194,
, dellaura
( . 196: Laura serena che fra verdi fronde;
. 197: Laura celeste che n quel verde lauro; .
198: Laura soave al sole spiega et virba; . 327:
Laura et lodore e l refrigerio et lombra),
: al soave suo spirto riconosco : . , spirito
(soffio, alito),
Tanto gentile, un spirto
soave pien damore.
14 endecasillabo,
. (ABBA) (CDEEDC).
, tanto,
, .
, . ,
, .
---,

488

. ,
. Figura Christi.
.
, ,
(1971/
XXVI, . LIII),
, : , , .

, .

, ,
. ,
, .
: Laura gentil che rasserena i poggi
destando i fior per questo ombroso bosco,
al soave suo spirto riconosco
per cui conven che n pena e n fama poggi.
: ,
,

.
:

Tanto gentil e tanto onesta pare

la donna mia quandella altrui saluta,
chogne lingua deven tremando muta,
e li occhi no lardiscon di guardare.

489

Ella si va, sentendosi laudare,

benignamente dumilt vestuta;
e par che sia una cosa venuta
da cielo in terra a miracol mostrare.
Mostrasi s piacente a chi la mira,
che d per li occhi una dolcezza al core,
che ntender non la pu chi no la prova;
e par che de la sua labbia si mova
uno spirito soave pien damore,
che va dicendo a lanima: Sospira.
:
, ,
,
.
, ,
;

.
,
,
:

, , ,
.

-
,
. . 90,
Non era landar suo cosa mortale / ma dangelica

490

forma13 e:
, /
. forma,
( , , forme pure ). 57.
Chiare, fresche et dolci acque, : il divin
portamento ( ),
, , - , . Tanto gentile,
Ella si va ( ).
,
- .

, :14 .
13. ( ), .15

, A la stagion che l mondo foglia
e flora

13 Non ma Vita Nova,

II 8: Ella non parea figliuola duomo mortale, ma di deo.
14 Donzella Compiut .
: A la stagion che l mondo
foglia e fiora; Lasciar vorria lo mondo e Dio servire; Ornato di gran
pregio e di valenza.
15 (Compiuta),
, ,
.

491

 13. , j,16
, Quando laira
rischiara e rinserena ,
, . ,
, ,
, .17
, la perfetta semplicit
del sonetto femminile, con movenza pi vivace, pi
immediata e pi naturale.18
:
: A la stagion che l mondo foglia e fiora
acresce gioia a tut[t]i fin amanti:
vanno insieme a li giardini alora
che gli ruscelletti fanno dolzi canti;
la franca gente tutta sinamora,
e di servir ciascun trag[g] es inanti,
ed ogni damigella in gioia dimora;
a me, nabondan mar[r]imenti e pianti.
Ca lo mio padre m ha messa n er[r]ore,
e tenemi sovente in forte doglia:
donar mi vole a mia forza segnore,
16 Bondie Dietaiuti (13. ).
.
17 F. De Sanctis, Storia della letteratura italiana, I vol., Milano:
European Book, 1984, 25.
18 , 26: [] ,
, .

492

ed io di ci non ho diso n voglia,

e n gran tormeno vivo a tutte l ore;
per non mi ralegra fior n foglia.
: ,
:

;
,
,
;
.
,
:
,
, ,
;
, .

, .19
, 160
, ,
. 19 Cino da Pistoi Guittoncino di ser Francesco dei Sigisbuldi (, 1270 , 1336), .
Lectura super Codice;
Rime. ,

.

493

 , - ,
.
- () ,
(sommo poeta)

, .
,
, ,
() ,
,
Tutto ci chaltrui agrada a me disgrada:
:
Tutto ci chaltrui agrada a me disgrada,
ed mmi a noia e spiace tutto l mondo.
Or dunque che ti piace? I ti rispondo:
quando lun laltra spessamente aghiada,
e piacemi veder colpi di spada
altrui nel volto, e navi andare a fondo;
e piacerebbemi un Neron secondo,
e chogne bella donna fosse lada.
Molto mi spiace allegrezza e sollazzo,
e la malenconia magrada forte;
e tutto l d vorrei seguire un pazzo.
E far mi piaceria di pianto corte,
e tutti quelli amazzar chio amazzo
nel fr pensier, l dovio trovo Morte.
: , ,
.

494

 : ? :
;

, ;
, ,
.
,
,
.


, , .

. 90 :
Erano i capei doro a laura sparsi / che n mille dolci
nodi gli avolgea, / e l vago lume oltra misura ardea
/ di quei begli occhi chor ne son s scarsi, ,
:
, / ;
/ /
.

, ,
.
, , , , , topos-typos. , , ,

495

 ,20 ,
,
, , , Laude cortonesi;21
la bella donna che al ciel tavvalora (Paradiso,
X, 93)22,

XXX .23 ,
, ,
.
,
.

, . Pianto della Madona de la passione del figliuolo
Ies Cristo, pianto, , ,
.24

,
, . 20 . , , : , 212.
21 , 213.
22 , 214.
23 , 418.
24 , 419. Iacopone da Todi (, 1233 ,
1306) 73 , Pianto della Madonna, -

.

496

 [...] :
,
,
,
, , ,
, , , .
, ,
. termine fisso
deterno consiglio, ,
. Madonna modello di ogni virt,
, ,
, , .

XXXIII .
, :
, ; 14.
1300. ( 31.
1300). ,
.
:
( 121), (
2239). ,
:
Vergine Madre, figlia del tuo Figlio,
umile ed alta pi che creatura,

497

termine fisso detterno consiglio.

tu se colei che lumana natura
nobilitasti s, che l suo Fattore
non disdegn di farsi sua fattura.25

: . 26 12. ,
.
, ,
, ,
per Mariam, .
:
Ave Maria, ,
, , .
,
,
Laude cortonesi.
; 25 , , , :
, 2007: , , /
, / , //
/ , /
.
26 (Bernardo di Chiaravalle) : 59.
XXXI , un sene dalle vesti
gloriose. .
(XII; 80),
.

498

 , .
,
.
,
.
,
. (
),
( ) Laude cortonesi.27
, ,
. , ,

,
contempus mundi (
), .
,
.
, , :
.
27 Laude cortonesi Laudario di Cortona
1250. ( )
.

12. . ,


,
.

499

 , ,
capfinidad (
. 30,
), zajalesca, ,
- .
,
, , ,

.
.

,
,
:
Venite a laudare, per amore cantare
Lamorosa Vergene Maria
Mara glorosa bata
sempre sia molto laudata:
preghiam ke ne si avocata
al tuo filiol, virgo pia!
Pietosa regina sovrana,
conforta la mente ch vana:
grande medicina ke sana,
aiutane per tua cortisia.

500

Villani peccatori semo stati

amando la carne e li peccati;
vidn che nha l mondo engannati:
defendane la tua gran balia.
Siate a piacere, gloriosa,
ki canta tua lauda amorosa
de farli la mente studiosa
ke ludi ben, nocte e dia.
Dana stella lucente,
letitia de tutta la gente,
tutto l mondo perdente
sena la tua vigoria.

, /
: .
.28
,
. ,
,
.

, ,
,
,
.
28 . , . , 35.

501

 ,

,
,
,
, .29

Persida Lazarevi Di Giacomo

LJUBOMIR SIMOVI
AND ITALIAN MEDIEVAL POETRY
Summary
This article analyses Ljubomir Simovis translations
of Petrarchs Il Canzoniere (15 texts) and of five Italian
sonnets of the XIII and early XIV century. In his translations, Simovi adheres to the codes of medieval poetics
and adapts them to our language. His essays on Serbian
poets, where he discovers the presence of a Marian cult in
Serbian literature with the aid of Italian poetry, also display his excellent knowledge of this poetry genre.

29 : . , , , 1/1996, 12.

502


, (
) 310
, (Theodor W. Adorno) 125
, 370, 389
, ` (Thibaud d`Amienne) 499
, (Jean-Pierre Han) 470
, ( ) 461
, ` (Guittone d`Arezzo) 483
() 33, 34
, (Francesco dAssisi) 499
, 219233
, (Marie-Jose Balusta) 460
, 114, 364, 389
, (Jose Barnerias) 460
, ( ) 63,
78, 109, 213, 373, 375
, (Gaston Bachelard) 104, 347
, (Samuel Beckett) 455
, 207
, (Thomas Bernhard) 461
, (Jean-Claude Berutti) 469
, 5961, 76, 86, 161, 241, 284, 301,
451
, (Max Black) 361, 389
, 304, 307, 308
, (Charles Pierre Baudelaire) 167, 168
, 455
, 179, 186
, (Giovanni Boccaccio) 479
, (Ferdinand Bol) 248
, (Isabelle Bortolin) 457
, (Hieronymus Bosch) 190193, 283
, 359, 389
, 189217

503

, (Henri Bremond) 285

, (Bertolt Brecht) 455, 471
, 451
, (Pieter Bruegel) 283
, ( )
467
, (Peter Ulrich Weiss) 455
, (Jean-Paul Wenzel) 458, 460, 462,
464, 472
, (Joseph-Emmanuel Voeffray)
468
, (Antoine Wicker) 461, 463
, 243
, (Alfred Victor comte de Vigny) 321
, (Walt Whitman) 451
, (Wandy Wall) 179, 180, 186
, (Marc Voline) 466
, (Anne Vouilloz) 468
, 322, 323, 337
, 298
, 248
, 213
, (Guido Guinizelli) 482484
, 389
, (Alen Gerbran) 101, 390
, (Herve Gauville) 465, 466
, (Colette Godard) 462, 463
, 162
, (Pierre Jules Thophile Gautier) 321
, (Julien Gracq) 455
, 192
, 168170, 177
, ( ) 442, 443, 446
, (Pierre David) 467

504

, 124
, (Mary Douglas) 107, 108
, (Arnaut Daniel) 480
309
, 12, 273, 341357, 395, 415, 502
, (Alighieri Dante) 475, 479, 480, 482,
485, 486, 488491, 493498
, 221
, 5978
, 372, 389
, 477
, (Remi Derrien) 458
, 161178
, (Bondie Dietaiuti) 492
, 468
, (Prosper Diss) 468
310, 312
, (Donazella Compiuta) 491, 492
, 39
, 12, 310, 321, 337
, 179187
, 446
, 441, 446
, 12, 84, 291, 292, 396, 415, 417, 475
, ( ) 286, 301
, (Monique Hecker) 469
, (Mircea Eliade) 99, 101103, 283,
284, 352, 437, 446
, (Thomas Sterns Eliot) 316, 319,
333, 334, 337, 451
, ( ) 201,
209
, . . (. . ) 365, 389
() 461, 469

505

, (Grard Genette) 126

, 378, 389
, 154, 159, 284, 314
, 267
, (Paul Zumthor) 479, 481
, 352, 356, 357, 419, 432
200
, ( ) 319,
335337
, 12, 259279, 395, 415
, 83, 85, 355, 436, 444, 446
, 124
, 128, 445, 446
, (Konstantin Jireek) 179
, 1114, 1731, 138, 194, 284,
294, 426
, 174
, 319337
, 359, 389
, (Eugen Ionescu) 455
, (Carl Gustav Jung) 182, 470
, (Guido Cavalcanti) 479
, (Wolfgang Kayser) 33, 207, 215,
216, 228
, (Jonathan Culler) 157, 159
, 179182, 187
, 359, 390
, 57, 238, 360, 362, 365368,
370373, 377, 379, 380, 385, 389
, 389
, (Lee Quinby) 191, 198, 205
(Marcus Fabius Quintilianus) 414
, (Odile Quirot) 460

506

, 40
, (Bernardo di Chiaravalle) 498
, 475
, 322
, 393, 414, 415
, 419
, 389
, 33
, 146, 154, 155, 159
, 12, 345, 353, 394, 395, 398, 415
, 124, 133, 183, 243, 246, 247, 249, 282,
296, 297, 495, 497, 499
, 365, 390
, 201
, 192
, 154, 159
, 107
, (Ernst Robert Curtius) 207
, (Naomi Lazard) 181
, 475502
, . 23, 129, 130, 259, 284286, 290, 297,
301, 418, 427, 430, 437, 444, 446, 449, 451, 477
, - (Bernard-Henri Lvy) 468
, (Borka Legras) 458
, (Jean-Pierre Leonardi) 466, 467
, (Rene Leonardi) 450
, (Monique Le Roux) 463, 464
, (Laurence Liban) 471
, (
) 313, 314
, ( ) 144, 159,
369, 390
( ) 226
, (Niall Lucy) 126
, 462

507

, 418, 449
, 200, 254, 256
, (Paul Maldoon) 181, 184, 186
, (Paul de Man) 124127
, (
) 229
, 451
, 175
, (Pierre Marcabru) 465
, 243
, 190
, 458
, . 25
, (Robert Marteau) 450, 453
, 237258, 393
, 190
, (Jean Maisonnave) 469
, (
) 99, 370, 384, 390
, (Didier Mereuse) 463, 471
, (Gabril Metsu) 248
, 201
, 12, 87, 97121, 265, 398, 415
, 285, 393416
, 192
248
, 333, 336
, (Czesaw Miosz) 57, 222
, 243
, 61, 129, 227, 451
, 159
, 126
, 168
, 498
, 247
, 123, 124, 139, 161, 303, 304, 315, 316

508

 (Napolon Bonaparte) 272, 277

, 60, 61, 82, 135, 243, 310,
368, 390
, (Anne-Sophie Nedelec) 456
, 389
, (Fridrich Nietzsche) 123, 126
, 125
, 449473
, 382, 389
, 237, 239, 246, 258
, 487, 501
, 190
, (Jos Ortega y Gasset) 138
, 174, 451
, 12
, 190
, 450
, 12, 17, 60, 94, 95, 123, 125, 127,
134, 154, 159, 161, 162, 169, 171, 174, 176, 233,
250, 259, 413, 419, 443445, 449452, 496
, 450
, 321, 337
, 107, 172
, 3436, 3840, 389
, 162, 166, 267, 346
, 417434
57
( ) 272
, 33, 39, 40, 42
, 159, 229, 372, 390
, (Francesko Petrarca) 475477,
479481, 483487, 489, 490, 493495, 500, 502
, 59
, 128, 451
, 126

509

, . 107
, 123, 237, 247, 258, 296
, 123140, 395
, 12, 60, 61
, 228, 231
, 389
, 3358, 399, 435, 436, 446
, (Pablo Ruiz Picasso) 450
, (Cino da Pistoia) 493495
() 270, 491
, 60, 61, 123, 161, 243, 246248, 284, 368,
390
, 123, 157, 237239, 244, 245,
249, 252, 258, 419, 432
, 7996, 243, 393
, (Oskar Potiorek) 386
, 175
, 390
, 129
, 138
, 143160
, 376, 390
, 229
, 163, 259, 356, 451, 477
, 250, 337
, (Jean Arthur Rimbaud) 333, 343
, (Sophie Renauld) 467
, (Anne Renoue) 455, 458
, 451
, (Nicolas Romeas) 471
, 359391
, 131
, (Francesco Saverio De Sanctis)
491493
, (Jean-Paul Sartre) 455

510

, (Carlos Saura Atars) 467

76
76
, 477
, (Claire Seleskovitch) 456
, ( ) 451
, 59
, 133
, 386
, 196, 284
, . ,
, 397, 415
, 388, 390
, 248
, 377, 390
, 243
, 476, 477
, (Iacopone da Todi) 496, 499
, ( ) 269
, 124
, 390
, (
) 220
, (Philip Thomson) 215
, (Jozo Uvoditch) 450, 456
, 450
, (Vladimir Claude Fisera) 451
, (Herman Northrop Frye) 99, 106, 192,
193, 209
, (Semyon Frank) 281, 291, 301
, (Hugo Friedrich) 165, 167, 178
, (Christian Johann Heinrich Heine) 321
, 341357

511

, 12, 91, 303317, 346, 398, 415

, (Peter Handke) 469
, (Linda Hutcheon) 196, 205
, (Yamina Hachemi) 467
() 304
() 176, 334
(Quintus Flaccus Horatius) 237, 239, 246,
249, 252, 258
, 130, 249, 260, 267, 419, 425, 454, 461
, ( ) 57
, (Vladimir Andre Cejovic)
455
, 241
, 137
, 451
, 303, 419
, 300, 390
, 435447
, (Rene Char) 449
, ( ) 455
, 281301
, (Jean Chevalier) 101, 390
, (William Shakespeare) 68, 465,
469, 471
, (Nathalie Chemelny) 456, 472
, 451
, (Johann Christoph Friedrich von
Schiller) 348, 351, 353, 466
, (Alexander Schmemann) 286,
287, 289, 290, 300, 301, 311, 312
, 213

512

, 2

, 43

*


.

*


*

500
*

,
ISBN 978-86-7095-170-9

CIP -
,
821.163.41.09-1 .(082)
:
/ [
, ]. :
: ; :
, 2011 ( : ). 514 . : . ; 24 cm. ( .
; . 13)

,

20. ,

...--> . -
500. - . 9-12: /
. -
. . - Summry;
Rsum.
ISBN 978-86-7095-170-9 ()
1. , [] [
] 2. ,
[]
) , (1935-) -
COBISS.SR-ID 182782988