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Jovan Deli
THE DOMINANT FEATURES, TENDENCIES AND
CHANGES IN THE POETRY OF JOVAN HRISTI
Summary
The poetic opus of Jovan Hristi, even though modest
in terms of size, occupies an important place in the context of Serbian poetry in the post-World War Two period.
A highly educated poet became a poet of culture, focusing on Greece, the Mediterranean and the world classics.
His poetry and essays established a lively dialogue with the
poetry and essay writings of the world. Owing to his rigorousness, education, culture, a sense of measure and focus
of the Mediterranean, Greece and Alexandria, Hristi is a
modern classicist, but he is also close to neosymbolists.
The poet himself formulated the three universal principles

44

of his poetics: 1) a high degree of verbal articulation, 2)

universality, and 3) depth. His poetry is exceptionally cerebral and dialogic. Hristi sings with the conviction that
a poem reconciles emotions and wisdom. The thematic
triangle booklifelibrary has a privileged position in
this poets opus. Hence the abundance of quotations in
his poetry. The ideals that he aspired to are expressed in
his poems: seriousness, a sense of measure, lofty wisdom.
Hristis free verse manifests traces of the culture of antiquity: it was created against the background of the hexameter, in a manner similar to that of the verses of Ivan V.
Lali. Hristis poetry does not contain dramatic changes
or turns, even though some are visible in his final creative
phase.

45

46





: , , , , , .

, (, , ), (1963),


, (1988).
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)
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47

 (1954), , 19521956 (1959),

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.2 19521956


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19521956,
, (1993).
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, .
4583.
2

48

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3 , . , 1970, . 294.

49

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52

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,
.

Dragan Hamovi
A REVIEW OF THE POETICS OF JOVAN HRISTI
BETWEEN AVANT-GARDE AND CLASSICIST
ASPIRATIONS
Summary
The poetry of Jovan Hristi, viewed as a whole, offers
a somewhat different, more contradictory picture than the
one predominating in literary criticism, which mainly insists on its modern classicist features. Its classical element is a feature of his central lyrical corpus, exemplified
by the collection The Alexandrian School, but in the po-

53

ems that preceded it, and especially in the final segment of

Hristis poetry, written after a hiatus lasting a quarter of
a century, in the years towards the very end of the poets
life, what predominates are anticlassicist impulses, creating a more dynamic and semantically more complex image
of the world, posited dramatically from the inside.

54



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(Ulysses, 1842). , , (Odysseus, Ulixes, Ulysses);
,

56

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a a
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(Title translated into Title: Ulysses, ),
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57




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60

 Poetry for students, 1997)

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113

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119

 . ?
,
. .

, . ., , 1982.
Bloom, Harold, editor, Odysseus-Ulysses, New York
1991.
Vukovi, orije, Pogovor, : Jovan Hristi, Stare i nove
pesme, Novi Sad 1988.
, , , , , ,
2007.
Eliot, T. S., Ulysses, Order and Myth, The Dial, LXXV,
November 1923; : James Joyce, The Critical
Heritage, London 1970.
Selected essays, 19171932. New York 1950 Izabrani
tekstovi, predgovor Jovan Hristi, prevela Milica
Mihailovi, Beograd 1963.
, , Sola Amore ( ,
2009).
Kavafi, 70 pesama, izbor i pogovor Ivan Gaanski,
sa grkog preveli Ivan Gaanski Ksenija Maricki
Gaanski, Beograd 2006.
Keely, Edmund, Nostos and the poets vision in Seferis
and Ritsos, in: Peter Mackridge, Ancient Greek Myth
in Modern Greek Poetry, 1996.
, , , :
, , 2003.

120

, ,
, : , , 1996.
Lord, George de F., The Odyssey and the Western World,
Sewanee Review 62, No. 3, JulySeptember 1954, in:
Harold Bloom, Odysseus-Ulysses, New York 1991.
, . ., , I, 1930.
Maiorino, Giancarlo, First Pages, Poetic of Titles,
University Park, 2008.
Mackridge, Peter, editor, Introduction in: Ancient Greek
Myth in Modern Greek Poetry, 1996.
Markley, Arnold, Poetry for Students, Gale 1997.
Stateliest Measurres, Tennyson and the Literature of
Greece and Rome, Toronto 2004.
, ., , ,
,
, 2004.
, , , , , , ,
1959.
U potoku vremena dvadeset godina srpske poezije,
Savremenik, godina XI, knjiga dvadeset prva,
mart, 1965.
,
1971; II, Beograd 1997.
Poezija jugoslovenskih naroda 19451975, Tokovi
opredeljenja, Delo, godina XXI, broj 1, januar
1975.
, 1983.
, 20. , 2008.
, , , 1997.

121

, , , , : . , , 2002.
Thaniel, George, George Seferis Thrush: A Modern
Descent, Canadien Review of Comparative Literature,
Winter 1977.
Fowlie, Wallace, A Reading of Dantes Inferno, Chicago
1981.
, , ,
, 2008.
, , , 1954.
, , 1957.
19521956, 1959.
, 1963.
T. S. Eliot: Tradicija i individualni talenat, : T. S.
Eliot, Izabrani tekstovi, Beograd 1963.
, : . , , 1969.
, 1988.
, 1993.
, 1995.
, 2002.
, 2003.

122

Aleksandar Petrov
HRISTICHS ULYSSES
Summary
This study analyses the position of Hristichs poetic character Ulysses as the second-degree author (M.
Bachtin) of his poetic work, in comparison with that of Odysseus/Ulysses in world literature (Homer, Virgil, Dante,
Shakespeare, Tennison, Kavafi, Joyce, Seferis, Ritsos, Kazantzakis, Brodsky) as well as Serbian literature (Tsrnyanski, Pavlovich). This type of contextual research implies an
interpretation of Hristichs attitude towards tradition in
poetry as well as in essays (especially in view of Eliots definition of tradition and the concept of literary classic with
regard to examples such as the Odyssey and the Eneid).
Research includes consideration of the problem of poetic
value, poetics of titles, quotation, with special focus on
the most significant concepts in his poems (room, library,
book, sea, summer, cosmos, history, nature, culture).

123

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1 , , 2005, . 110112.

126

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2 . , , : , ,
1996, . 1011.

127

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128

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, , 3 , : , : , 2002, . 6773.

129

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130

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131

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132

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Folker Shakespeare Library,
1985.

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133

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135

Mihajlo Panti
ON HRISTIS POETRY, ONCE AGAIN
Summary
This paper interprets the general modernist context
of the poetry of Jovan Hristi and points out its essential
characteristics: blending the past and the present, the
mythical and the contemporary, into a melancholy tone
and a striving to establish the poem as a linguistic amalgam of a sensual, individual creative experience and a
concrete, objectivising description of objectness. Particular attention is paid to Hristis poetic explications, thus
additionally confirming the historically perceived and established thesis that the most important modern Serbian
and European poets of the 20th century, as a rule, are also
the most important interpreters of poetry. This is followed
by an analysis of Hristis poem I Sit in the Library All
Day Long, wherein some of the key features of Hristis
singing come to the fore, especially a feeling of isolation
and a yearning that cannot be abolished or compensated
for by any form of realisation. Hristi is a poet whose poems come into being, apart from following the usual lyrical
confessional mechanisms, arising from a specific and consistently shaped cultural (essayistic) background, which is
also the key thesis of this paper.

136

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, (1992) (1996),
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20. . , 1960.
1964. ,
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20.
. , , 1 , , , , 2003.

137

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,
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, ,2 , 1985.
2002. ,
,
, (1954) 19521956 (1959).
,
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1963. , .
, ; ,
, , ;3 , ,

2 , 1968. ,
.
3 Mez-

zogiorno, ,
.

138


,


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,
.
,
1963. 1986.
,
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, , , 1970. ,

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139

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, 1997, . 15.

140

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141

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142

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143

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144

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145

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146


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, , . 6567.

147

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.

148


,
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.

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-

149

,

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103.

150

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151

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. 1985. Folger Shakespeare Library
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(1997) (2002),
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152

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14 ,
, , 1992, . 104
106.

153

.
,
. ,
,
,
,

.

Leon Kojen
THE LATE POETRY OF JOVAN HRISTI
Summary
The paper argues that the distinctive feature of Hristis
late poetry (posthumously collected in U tavni as, 2003)
is the discreetly but unmistakably autobiographical nature
of its poetic persona, and sees in Hristis 1970 essay The
Fate of Language an early intimation of the sort of poetry
he was only to write toward the end of his life.

154

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

, . (1954), 19521956 (1959) (1963), 1988,

,

(1993) (1995)
.1

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,
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2 , ,

155



, (, 2002. ,
). , , , ,
,
, ,

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,

, ,

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(, 1988, 89).

,
. ,

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:

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(, 2003, 65).
:
,
,
, ,

(, 2008, 155).

156


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4
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(, 1990, 38).
5 . ,
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:
(, 1988, 95). . :

, ,
,
(, 2008, 154).

157


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158

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159

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160

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161

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162

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163

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164

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165

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166

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167

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(, 1999, 125126).

168

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

.

169

 , - .

orije Vukovi, Pogovor, : Jovan Hristi, Stare i

nove pesme, Knjievna zajednica Novoga Sada, Novi
Sad 1988.
, , ,
1999.
, , : , , 1993.
, , , 1994.
, , :
: , , 2003.
. , , : ,
, , 1995.
, , : ,
, 1990.
, , ,
: , ,
1999.
Bogdan A. Popovi, Savremeni pesnici, Radniki univerzitet Radivoj irpanov, Novi Sad 1972.
Saa Radoji, Jovan Hristi, pesnik, : Jovan Hristi, Sabrane pesme, Rad, Beograd 2002.
Georg Simmel, Kontrapunkti kultur, Naklada Jesenski
i Turk, Zagreb 2001.

170

Ivana Spasi, Sociologije svakodnevnog ivota, Zavod za

udbenike i nastavna sredstva, Beograd 2004.
, . , ,
2008.
, , ,
2005.

Bojan olak
THE POETICAL CHARACTERISTICS OF HRISTIS
LATE POETRY
Summary
The subject of this work is analysis of eight poems
by Jovan Hristi created during the course of the period
following the publication of his six books of poetry and
gathered in The Collected Poems in 2002. The purpose
of the paper was to point out the poetic characteristics of
these poems, as well as the corpus of themes and motifs
that are not to be found in the above-mentioned collections of poetry or are present in a negligible degree, and
also to establish their relationship towards the poems published in those collections. It is noted that the poems written towards the end of his life lack the themes and motifs
that Hristi had emphasised before, and that the focus
was shifted onto presenting the everyday life of the lyrical subject and inserting biographical facts. In some of the
poems it is possible to precisely determine the historical
moment when they were written, which is not evident to

171

such an extent in the poems that preceded them. Of particular interest are the experiences of man and space in
these poems, especially the poets play with the categories
of real/unreal. On the other hand, the themes of death and
a feeling of transience, as well as the basic compositional
principles, establish a strong connection between these
eight poems and Hristis earlier poetry.

172

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, , 2002.

175

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2003.
3 , , (1963)
(1988,
).
, .
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(...) , , , . , ,
,
,
, , 1995, . 4344.

176

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177

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179

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180

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181


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188

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189


Mezzogiorna .
.

Aleksandar Jovanovi
BETWEEN ERUDITION AND EMOTION THE POETIC
VOICE OF JOVAN HRISTI
Summary
The paper deals with the relationship between erudition and emotion in the poetry of Jovan Hristi, from
his early to the late poems. Within the framework of this
relationship, of particular importance are Hristis essays,
some of which, for example Sterija the Poet, The Perennial Charm of Pre-Socratic Thinkers, The Destiny of
Language, Travels across the Mediterranean, A Terrace on Two Seas, manifest themselves as a possible key
for reading his poems, even his poetry as a whole. But in
Hristi, erudition is merely raw material for emotion: erudition helps him express his emotion as precisely as possible and provide the poetic situation with a broader field
of validity.

190


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191

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... ,1 1 . : Jovan Hristi, O tragediji, Beograd 1998, . 127.

192

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193

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, 7 George Steiner, Smrt tragedije (prevela Giga Graan), Zagreb
1979, . 84.
8 , . 92.
9 , 198.

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10 Christoph Menke, Prisutnost tragedije, Ogled o sudu i igri
(preveo Dalibor Davidovi), Beograd / Zagreb 2008, . 9596,
passim.

196


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203

Tihomir Brajovi
NEITHER OURSELVES, NOR SOMEBODY ELSE: THE
PARADOXICAL VOICE OF THE COLLECTIVE IN THE
POETRY OF JOVAN HRISTI
Summary
Proceeding from the poems wherein the characteristic
expressive we occurs (The Tragedy Is Over, Phaedo,
Ships Log, Three Poems about a Conquered City and
others), the author of this paper interprets the notion and
the poetic figuration of the collective self/identity in the
poetry of Jovan Hristi. The interpretation focuses on the
tragic sensibility and its position in the modern world.
Noting the evident differences in relation to the models of
antiquity, the interpretations points out the characteristic
predominance of the tragic world-view, wherein it locates
the source of the paradoxical (self-)understanding of collective existence in Hristis poetry.

204

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4 . , , . 156.

206

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209

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214


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215


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Mezzogiorno
.
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216

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217

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218

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219


(),
: , , . ,

,
:
, , , ,
,
,
:
.

Saa Radoji
SENSUALISM IN THE POETRY OF JOVAN HRISTI
Summary
This paper deals with the affirmation of sensuality and
corporeality as a specific feature of Jovan Hristis poetry,
relatively rarely referred to by critics. Hristis sensualism
is markedly notable in the cycle Mezzogiorno, and also
in some of the late poems. The author offers the assumption that the sensualist elements in Hristis world-view
were motivated by his striving to express moments of lifes
fullness through poetry.

220

: , , , , , , .

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

-, . ,
,
1 :
. : 4,
,
, 2007, . 379398.

221

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2 , , : , , 1997, . 22.

222

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223

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.
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II: , , / ; / / ,
/ , / / ; / /
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224

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, ,

.
, 4
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. 3 : , , , , 2002.
4 ,
, :
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1997.

225


. Mezzogiorno ,
, , , , ,
.

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,5 . ,6 7 .8
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: , , . .

.

. ; ,
,
5 , , : , , , 1966, .
339348.
6 . , , : . , ,
, 1997, . 125134.
7 , : ,
, 1988.
8 , .
, , 2008.

226

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228

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230

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232

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1995, . 5759.

233

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16 , , , 2002, . 118119.
17 , . 119.

234

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19 , . 61.

235


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236

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237


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Mezzogiorn ,
22 , , ,
, 2003.

238

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: . .

Svetlana eatovi-Dimitrijevi
THE MYSTICISM OF HRISTIS NOON
Summary
The paper analyses the thematic-motif notion of noon
and light in Hristis poetry. The phenomenon of noon is
interpreted as a literary symbol, as well as a geographically and anthropologically determined constant within
the framework of the idea of forming another tradition,
relying on elements of European Mediterraneophilia. The
theme of noon is also interpreted on the diachronic level,
in the context of the Serbian literature of the 20th century.
The mysticism of noon in Hristis poetry is reviewed in the
poem Mezzogiorn, and also through Hristis essays,
the philosophy of the pre-Socratic thinkers Parmenides

239

and Zeno, and the poets essays on these philosophers. In

the interpretation of the poem Mezzogiorn and the late
poem Three Love Poems, the mysticism of noon is reviewed as a literary and philosophical concept which has
its foothold in the story-fantasy A Terrace on Two Seas.
The overall mystique of Hristis noon is a complex spatial,
temporal, literary, philosophical and experiential model,
entirely original in modern Serbian literature.

240


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241

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1 : ,
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, 1997.
2 , , : , , . 21.

242

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3 , , , : ,
, , 2002, . 97.
4 -, . , :

(. ), ,
2007, . 395.

243

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, 5 . :
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-
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244

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13 , . 92.

246

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247

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248


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253

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255


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256



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257

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258


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259

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260

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,
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Mezzogiorno, , () /
. ,

, ; , , ,
, ,
. , , :
, (1/x2/, 3, 5, 11); ? (2, 11);
, ? (3, 11);
, (5,
6/x3/, 11); , , (5, 7/x2/, 11);
(8, 9/x3/, 11);
(9, 11);

261

 (10/2/), .
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,
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262

 , , ,
, , ,
- .

Bojan Jovi
THE DARK LIGHT IN
THE POETRY OF JOVAN HRISTI
Summary
The purpose of this paper is to point briefly to some
general poetic features of Hristis poetry, that is, to the
special form of diachronic appearance and interweaving of
the basic thematic-poetic features.
Hristis (collected) poetic opus is viewed as a whole in
terms of poetry and poetics, composed of several basic thematic lines, present in the main from the very beginning
of his career. The archetypal basis of Hristis poetry is in
the image of the subject that is somewhere in-between:
between life and death, abstraction and sensory perception (losing confidence in the written word and culture,
distanced from carnality as much as one can be). The psychic and the physical constitute simultaneously the sundered and the intertwined aspects of a whole that is only
intermittently lit by a fully shining light.
It is pointed out that Hristis lyrical chronotope is
based on a room as the basic unit of mans domain and
dusk/evening/night as the basic time (with artificial light

263

or the night-time stars in the sky as the predominant

source of light). The paper also points to the multiplication
of the lyrical I and the resulting spatial-temporal aspects
of the reflection motif, and also to the otherworldly character of the theme of the journey in Hristi.
To end with, attention is drawn to the basic thematic
lines, manifest to a greater or lesser degree and combined
in various ways, as the interactive factors instrumental in
shaping Hristis poetic compositions.

264

: , , , ,
, , , , , .

1
.
,
:

(,
),

20. ( ,
, 1965). .

, ,
,
(,

265

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(1954),
, . ,
19521956 (1959) (1963),
,

.

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.2
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,
1 . . ,
, : , ,
, 1995, . 78.
2 ,
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, , 1987,
. 75.

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289

Ivan Negriorac
INTERTEXT AS A CRITIQUE OF LYRICAL
METAPHYSICS: ON THE NATURE OF THE
LOGOCENTRIC STRUCTURE OF THE POETRY OF
JOVAN HRISTI
Summary
Analysing the autopoetic statements in Hristis early
collection Diary about Ulysses, as well as some occurrences of intertextuality in the poems Danaans, Urbi et
Orbi, Socrates on the Battlefield, Phaedo, The Tragedy Is Over and The Incessant Freshness of the World,
the author concludes that all of them manifest one of the
fundamental poetic features of Hristis poetry as a whole
a predilection for intertextual games. This poetic method
always serves to preserve a firm logocentric structure and
to fulfil the poets need to speak clearly of those things
that can be spoken of at all. This represents Hristis exceptionally important contribution to the criticism of the
traditional lyrical metaphysics and the establishment of a
specific form of modernity. In the era of postmodernity,
this experience is exceptionally topical and manifests great
inspirational power.

290

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-

291

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, , ,
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. 1961. ,
(
, 1960,
1961. ),
, , .
,

, (
, 1963) ,
, . , , ,
,
.
1 , , : , , , 2005, . 10.

292

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, .

, ,
,
.

, ()
.
,
.2
,
, ,
.3

,

,
, ,
2 , : ,
, , 1992,
. 120.
3 . , . 119.

293

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4 . , . 118.

294

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, 1998, . 182.
6 ( , 1994)
( , 2008), ( .
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. ,
(, 2002, . 101112,
. 846), ,
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1997, . 2728), ( , , . 70).

295

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310

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311

Slaana Jaimovi
THE DRAMATIC MEASURES OF THE LYRICAL TEXT
THE ELEMENTS OF DRAMA IN THE POETRY OF
JOVAN HRISTI
Summary
Insisting on a parallel reading of Sterijas poetry and
drama, that is, on the awareness of the inseparability of the
whole of artistic creation of a writer, Jovan Hristi speaks
not only of a poetic predecessor of his but also points discreetly to an interpretation of his own literary opus. When
his work is reviewed in its entirety, irrespective of its genre
diversity, one cannot fail to notice the emphatic interrelatedness and concord of Hristis diverse creations. It can be
said that the issues that preoccupy him, those questions
that man has been asking ever since the era of antiquity,
are pondered by Hristi within the framework of various
textual discourses, lucidly and sceptically trying out their
possible solutions and scope of meaning, and often enough
speaking to us about them as a philosopher, poet, playwright and essayist.
In Hristis poetry one can see the method of condensing a dramatic fabula to the relations and the framework of a lyrical situation, while the dramatic conflict,
most emphatically presented in Greek tragedy, is translated into a dialogue and tension between opposing perspectives and lyrical voices. Thus in his poetry it is often
possible to discern a lyrical conception of what Hristi
himself, writing about tragedy, called high-pressure art,
when space and time are condensed, when a tragedian, just
like a poet, economises on scope in order to achieve a condensed text so that, instead of broad images of the world

312

and mans destiny as a powerless being, both tragedy and

poetry achieve formulas of life characterised by a high
emotional charge. The paper analyses these dramatic
elements of Hristis lyrical poetry in the poems Gods,
Mnesarchus, The Tragedy Is Over, Know Thyself,
In a Dark Hour, He Sat Alone, While Night Gathered
behind the Window Panes.

313

314

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.


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-

315

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,
.2 ,
, , , ,
.3
()
1 : , ,
, 2008, . 19.
2 , , : , ,
1990, . 38.
3 , :
, , , 1997, . 76.

316

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8
.

, ,
, : ,

, 9
Mezzogiorno, .
,
4 . , , , : , . 41.
5
, , , 1968, . 9.
6 , , : , . 43.
7 , , , 1992, . 107.
8 , , : , , 1968, . 156.
9 . . ,
, ,
, , 1996, . 15.

317


.
, Mezzogiorno,
,
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(
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2008, . 10.

318

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324

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329

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330

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331


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,24 : ,
.25
,
. .
,
,
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.26
.
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2005, , 244.
25 , Paideia, ,
1991, . 89.
26 , ..., . 56.

332

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.

333

Mileta Aimovi Ivkov

PERMANENCE AND SENSE
IMAGES OF REALITY IN POETRY OF JOVAN HRISTIC
Summary
There is recognizable and characteristic content of
visible, empirical world and life set in thematic and contextual base of many poems by Jovan Hristic. It is particularly noticeable in his late poems, often immediately
and emphatically picturesque; most prevailingly in form
of insufficient record and witted observation; deprived of
transcendental insight, and figurative and rhetorical decorations.
In this paper we follow the thematizing of facts of subject, immediate, and life reality in all of his poems, as well
as creative process through which they are incorporated
in poem structure; in recognizable poetic world of Hristic.
We also follow their semantic and meaningful performance
most intensively based on his skill to, mentally, harmoniously, unpretentiously, aesthetically and functionally, link
existentional facts with singularities from literature and
culture; as well as multiple, mutual, conceptual, reflexive
and poetic connection of his essays with his lyrical texts.

334

: , , , , . . , , , , ,
, , ,
.

, (19332002)
(19331994)1, .
1 , . (19311997),
(19332006), (1933),
(19341961)
(1935), (1935).
, ,
.
,
, , - ,
( ),
, ( . , .
, . , . , . , . ).

335

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(2003), ,

,
(1993).2 ,
,
, ,
(2002).3

.4
, , ,
1982. ,
1993. ,
, 1994. .
,
, ,
.
2 , , :
, , . , ,
2003, . 59.
3 Jovan Hristi, Sabrane pesm, priredio i pogovor napisao Saa
Radoji, bibl. Re i misao, Rad, Beograd 2002.
4 , .
, , 2008.

, . 153174.

336

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, .5

1990. , ,
(1976).
,
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.
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, , .
,



( ), , .6 ,
5 : (1995), .
. (1995), 19841994 (1995), (,
1995), (1995), , , , , 1995.
6 . , , : :
, , 1996, .
9091.

337

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.
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.

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

7 - , :
, ,
, . . . , , 1997, . 91.
, , : . , ,
, , LXXXVIII, . 587, ,
1995, . XII.

338

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9 .
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339


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340

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14 ,
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299302.
15 . (Sokel)
(Traumbildhaftung), :
Walter H. Sokel, Der literarische Expressionismus, Mnchen 1970,
. 5256.

341

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344

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345


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346

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347

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348


. , ,
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349

 , , , , , ,
.
/ ,
, ,
, . ,

, .

Bojana Stojanovi-Pantovi
THE SIMILARITIES BETWEEN THE LATE POEMS OF
JOVAN HRISTI AND ALEKSANDAR RISTOVI
Summary
Jovan Hristi (19332002) and Aleksandar Ristovi
(19331994) belong to the second generation of our
post-war modernists, even though their poetry is based
on essentially different poetical-literary postulates, that
is, sources. In the case of Hristi, it is modernised classical heritage and classicism, whereas in Ristovis case it
is European neoromanticist tendencies and the tradition
of French symbolism and surrealism. However, their late
poems, created in the course of the 1980s and the 1990s,
manifest a number of similarities, both in terms of the
choice of certain motifs and topoi (especially the close experience of death) and the influence of autobiographical
elements, articulated through various discursive positions

350

of the lyrical I. The magical power of the image, which

Hristi wrote about referring to Rilke, and which Ristovi
was very close to as well, in the work of both poets points
to a metamorphosis of the subject and forms in time and
space, be it through a discursive or a metaphorical poetic
method. Thus the intimations of death in the late work of
both poets is experienced as a calm, collected approach to
the onirical borderline of two worlds linked by a suggestive, symbolical playing with language.

351

352

III

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,
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(, 1996, 18).
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,
.
,
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, .

355


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, : (.
),1 (. ),2
(. ),3
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, (. ),5
1 , (, 1993, 86).
2 Ozbiljnost, mera, mudra uzvienost, uzviena mudrost...
rei su kojima bismo opisali i kvalitete Hristievog pesnikog
jezika (, 2002, 97).
3 . .

20. (, 1997, 53).
4 , ,
(, 2008, 3132).
: , (,
2008, 81).
5 . :
, , (, 2003, 57).
:
, ; ,

; ,
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(, 2003, 60).

356

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357

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358

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361


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362

 ,

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,
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.

,
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:
Obino govorimo kako nam jezik slui zato da bismo
njime opisivali stvarnost. Dobro. Ali jezik, u zamenu, i stvara jednu stvarnost. (...) Zato ja potujem i
nepotedne jezike egzibicije dadaista i nadrealista,
potujem sve njihove namerne i voljne besmislice.
Tek posle njih, ini mi se, mi u jeziku vidimo neke
nove smislove i neka nova znaenja. Jezik, rei tee
da dobiju utvrena i okamenjena znaenja. One prestaju da zrae. ta znai kamen? amen, nita vie.
Ali kada posle bezbroj kamiaka naeg romantizma
doe i ovaj kamen zemlje Srbije ure Jakia, kamen pone neto da znai (, 1964, 162).
,
, , ,
, , , , -

363


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(, 1997, 31).
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1997, 11).

364

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365

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366

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367

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369

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371

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373


.
: , /
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. 107); ,
/ ( , . 108).

1. , :
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Urbi et orbi
, /
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374

 ,

. ,
,
.

, 1964: Nikola Drenovac, Pisci govore, Grafos,

Beograd.
, 1993: ,
. , , , .
, 1995: , . , , .
, 1997: , .
, : ,
, , . 4352.
, 2003: ,
, : ,
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:

375

, : ,
, , . 6084..
, 1997: ,
, : ,
, , . 5359.
, 1997: , . , :
, ,
, . 2125.
, 2007: , , , .
, 2002: Saa Radoji, Jovan Hristi, pesnik,
: Jovan Hristi, Sabrane pesme, Rad,
Beograd.
, 1997: ,
. , : , , , . 914.
, 2008: , .
, , .
, 1957: ,
, , .
, 1997: ,
, : , , , . 95140.
, 2005: , , , .

376

Aleksandar Milanovi
THE FUNCTIONALITY OF HRISTIS
POETIC LANGUAGE
Summary
This paper examines the key features connected with
the analyses of Hristis poetic vocabulary so far: the precision and functionality of the organisation of verbal content, the apparent simplicity, the prose syntax, the conversational intonation and the like. The conclusion reached is
that the basic unit of linguistic estrangement is the metaphorical noun syntagm, and what is also analysed are the
individual syntactic features of Hristis verse: the word
order, parcellation, the use of participle forms and elliptic
sentences, the omission of the predicate and the like.

377

378

: , , , , , ,
, , , , , , , , , , , , ,
.

.
,
,
, , ,
,
,
.
:
, ,

. ,
;
,

, [...].1

1 . ,
, : , ,
, 1995, . 18.

379


,

(, , ) .
,
, 1954,
,
,

, . , , , ,
, .2

. , ,
: ,
. , , , .3
,
.
, ,

2 , , , , 1988, . 91.
3 ,
, : ,
, , 1997, . 100.

380

 ,

.4
, ,

,
.
.
, ,
.
, ,
.
,

:
,
?
? , ?
:
?

:
,

4 , . , :
, , . 9, ,
1973, . 540.

381

 ,
?
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, , :
,
,
?

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( , 2)

,
.
,
, . , ,

.
, , .
;
, .
, ,
.5 5 , , , , , 1957, . 6597; .

382



(66), ,
.
(67).
.

.
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, [...]
,

(78).

,
, ,
, .
, ,
.

, ,
, , (86),

383

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,
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, .
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.
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.
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, (93).

384


,
(95).
; ,


. (, ,
),
.
, ,
, .

,

:
(14), (13), (16), (13),
(13), (13).
, , .
- ezzogiorno, 12
, .
,
.

385

 , ,
.
:
,
(1, 3, 5, 11)
, ,
(5, 7, 11)

,
(5, 6, 11)

,

, .
: , .
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.
,
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,
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*

386

 ,
, ,

.
. 6
.

.

, ,
. ,

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,

, (541)

.

.


6 , . , . 529544;
.

387

, ,
, ,

.

,

,
(540).
, , ,
.
.
.
( , 1954), , ,

, .
,

.
, .

388



. ,7 ,

. ,
,
. ,
:

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.
.
,
.
,

.
,
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, .8

7 , , :
, , ,
1973, . 563585.
8 , . 567568.

389


.9
, .
,
(5051).


, ,
, , ,
(51).
, ,
, ,
. ,
:
, , . ,
, ,

(51).
,
, .


9 , , : ,
, 2005, . 3357; .

390

 .
, , ,
, .

Sanja Paripovi
HRISTIS ATTITUDE TO FORM
Summary
The paper reviews the formal characteristics of
Hristis poetic discourse. The approach to form in the
course of building an individual verse, poem or a larger
whole is supplemented with his views of certain verse
forms, as expressed in his essays and reviews dealing with
Serbian poets (Lali, Mati, Sterija, Kosti) and poetry. The
paper points out Hristis interpretation of free verse and
his adoption of the term spontaneous rhythm.

391

392

IV

: , ,
, .

:
, , , ,
,
,

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

: , ,
1 , , ,
1964, . 146.

395

 , , ,

, , ,
.

,
,
,
,


.

,

2 , , -
.
, ,
,
,
.
.
,
2 Jovan Hristi, Studije o drami, Narodna knjiga, Beograd 1986,
. 114.

396

 , ,
,
,
, ,

. ,
, , :
,
,
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,
,


,
,
,3
, ,
, ,
,
, ,
, . ,
,
, 427.
3 , . 20.

397

, , ,
,
, ,
.4

,
, ,
,
, ,5 .
, ,
,

, , ,
,

, ,

.
,
4 , , ,
1957, . 31.
5 . Alberto Mangel, Biblioteka nou, Geopoetika, Beograd 2008,
. 17.

398

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

139. ,
,
,
,
.6 ,
, ,
,

( , / ,
/ ),

, 139. , :
6 Blez Paskal, Misli, prevod Jelisaveta i Miodrag Ibrovac, Kultura,
Beograd 1965, . 70.

399


, .7


, ,
,
, ,
.
:

, .
,
. : ,
, ,


8 . ,
,

,
7 , ,

(. , . 121).
8
: arl Bodler, Sabrana dela. Cvee zla, priredio Radivoje
Konstantinovi, Narodna knjiga, Beograd 1979.

400

 , ,
, ,
. , , , ,

: , ,
, .9
, , ,
(Voyage autour de ma chambre, 1795)
18. 19. ,
(17631852),10 42 ,
,
,
.

,
,11


.12
9 , . 41.
10 M
.
11 ,
, , 2. 9. 1954, . 2.
12 Biblioteka nou, . 17.

401

 ,
, , ,
,
,
, ,
,
,
, ,
,
,13 . ,
, .14 ,
;

,
.15
,
:
, , /
13 Ren Girard, Mensonge romantique et vrit romanesque, Grasset
& Fasquelle, Paris 1961, . 42.
14 , , ,
2005, . 110.
15 Stphane Mallarm, Crise de vers, Posies. Anegdotes ou
Pomes. Pages diverses, Librairie Gnrale Franaise, Paris 1977,
. 204205.

402

 , .16

, ,
,
, , ,17 ,
,18

.
, ,


, ,
,
, ,
. ,
,
,
, : /
16 , ,
, , 1969, . 66.
17 , , , 1964, .
127.
18 , . 128.

403

 , (
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,
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,
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.
,
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,19 ,20

. ,
, ,
, ,
19 : , ,
, 1976, . 8.
20 , . 9.

404

 .
, .21
, ,22
(Espace du dedans, 1944).
,
,


, ,
,
,


, .23
, ,
, ,
.24 , , , , , .
, 21 , . 11.
22 , . 9.
23 .
24 .

405

 ,
, .
, ,
,
, ,
,
/ ,
,
, 19521956,
,
,
,
,25
.

, , ,
,
,
Euthimia ,

,

, 25 ,
, ,
1992, . 118.

406


. ,
,
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,
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.
,

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407

 ,
,

[] , ,

,
, .
, ,

/ . , ,
, , ,

. -
(1924): Nous nhabiterons pas toujours ces
terres jaunes, notre dlice..., VII , ,
,
.
, notre dlice ( ),
. ,
,
, -
,

408

 , , ,
,
.

,
, ,
,
, ,
.26
,
,
:
, . , ,
,
, - , ,
(1946). ,
-
, ,

,
- .
Le vent
se lve, il faut tenter de vivre
.27
26 Alain Bosquet, Saint-John Perse, Seghers, 1961, . 37.
27 ,
.

409

 .
, , , ,
, ,
,


:
,
: Le vent se
lve... Il faut tenter de vivre! Lair immense ouvre
et referme mon livre, / La vague en poudre ose jaillir
des rocs! Envolez-vous, pages tout blouies / Rompez,
vagues! rompez deaux rjouis / Ce toit tranquille ou
picoraient des focs.28 ,
,
, ,
, ,
, , ,
III, :
28 . ,
: !... ,
! / , , /
! / , ! /
, , /
! . ,
, , 1966, . 162.

410

, , ,
.
,
.
, ,
[] ,
, , [] , ,
. ,
, , ,
,
, ,
, ,
: ... , , ,
. . ,
,
.29

, ,
, ,
, .30
La mer, la mer, toujours recommence!
29 , , ,
1958, . 389, . 19, . 31.
30 , . 33.

411

(, , 31), : , ,
.
,
,
,
,
, ,
, ,
,32 ,
- , ,
.33 , , ,
- , .
, ,
,
, ,
31 , : , ,
.
,

/ , .
32 , , , , 1976, . 161.
33 - , , , , 1966, . 145.

412

 ,

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,
, . ,
,

,
, ,

, :
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. , ,
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. ,
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, , ,
34
, ,
, , , , ,

, , 34 Poezija i filozofija, . 111.

413

: - ,
/ , , , / , , .
: Znon! Cruel Znon! Znon
dl! (! ! ),
: Mas-tu perc de cette
flche aile / Qui vibre, vole, et qui ne vole pas!/Le
son menfante et la flche me tue!,35

, . ,
, ,
,
, ,
, : Non,
non!... Debout! Dans lre successive / Brizez, mon
corps, cette forme pensive!,36

.
,
,
, :
,
,
, ,
35 , / , ,
! / , .
36 , !... ! ! / , ,

, . 162.

414

 ,37 ,

: , !
, . , , ,
, ,

.38



,

.
, ,
39 ,
,
, ,


.40
, , , 37 , , , 1994, .
203.
38 , . 205.
39 , , , 2002, . 122.
40 , . 121122.

415

 .
Quand sur labme un soleil se repose, Le Temps
scintille et le Songe est savoir,41
,
.42
,

, , , , ,
, /
, , ( ,
,
,
,
),
. ,
,
( , ?),

,
,
, 41 , ,
, . 158.
42 , . 122.

416

, ,
,
, , ,

.
, .
, ,

, .43
,
, ,

,
, ,



.44

, , la pense du midi,
,
, , . . 43 , . 111.
44 , . 201202.

417


, ,
;

,

.

(1934).45 ,
(1983),
. (1996),


, ,
, , ,
,
, ,

.46
,
, ,
45 Varit III
(1936). 1941.
,
.
46 , . 111.

418

 ,
,

.47
,
, ,
,

. cogito, ergo sum, /
. / ,
, / , Mezzogiorno,
.

/ ,
, ,
,
, , ,

. , ,
,
, , 47 , . 103105.

419

 ,
:
,
,
, ,
.48
,
,

,
,

, ,
,
:
,
:
.49
,

, ,
.50

48 , . 122.
49 , . 152.
50 , . 153.

420

Jelena Novakovi
JOVAN HRISTI ET LA POSIE FRANAISE
Rsum
Ce travail examine les aspects intertextuels de la cration potique de lcrivain serbe Jovan Hristi, qui se rfre, dans ses pomes et ses essais, une suite de potes
franais, tels que Charles Baudelaire, Stphane Mallarm,
Paul Valry, Saint-John Perse, Henri Michaud. Par lintermdiaire de ces rfrences, explicites ou implicites, stablit un dialogue qui se droule en corrlation avec la pense antique et travers lequel sexprime sa propre vision
du monde et sa propre potique.

421

422

 o
,

: , , .

[] , ,
, ,

.1 ,
, ,
, ,

, /.

.

,
,
1 . , , ,
1957, . 18.

423

 . ,
: []
,
,
,
.2

, 1965. : , (: ), , (
67, : ).3
,
, :
, ,

.
, 1970. ,4 ,
1965. , , , :
2 . , .
, , 2008, . 27.
3 , , 20. 1965. (:
), , , 27. ,
(: ).
4 : . , (), ,
1970, . 115188.
.

424

 ,
1498. ,
18. 7. , 8.
9. . .
.
,
, VI, , , ,
,

.
,
VI,5 ,
(8. 9. 1495),
, (13.
5. 1497). ,
,
, 1498.
, , ,
,
, ,
, 23. 1498.

,

.
5 G. A. Scaltriti O. P., Lultimo Savonarola. Esame giuridico-teologico del carteggio (brevi e lettere) intercorsi tra Papa Alessandro VI e
il Frate Girolamo Savonarola, Edizioni Paoline, Torino 1976.

425



, , ,
,
.
. , , ,

. . :
,

o.6


, ,7 8 (
),
() .

:

6 . : H. Meschonnic, Lo spazio poetico, : La metrica, a cura

di R. Cremante e M. Pazzaglia, il Mulino, Bologna 1972, . 213:
Il verso una linea che si ferma, non perch sia arrivata a una
frontiera materiale e perch le manchi lo spazio, ma perch la sua
cifra interna compiuta e la sua virt consumata.
7 . , , . 7879.
8 .: C. Ossola, Testo poetico e storia letteraria, y: AA. VV., Didattica
dellitaliano, a cura di M. Ricciardi, Stampatori, Torino 1976.

426


, , ,
.
,
,
, ,
.9
. ,

,
, . ,
: []
.10


, : , , , .
( ),
9 . , , ,
1964, . 34.
10 , . 11.

427

 (
, , ).
,11

.

, , , .

.
,
, , ,

.

: [...] , , ,
,
.12

11 .: . , .
, . 3233:
[], , ,
, ,
, .
12 . , , : , , . . , . ,
, 1997, . 44.

428

 , ,
, .
, , , , .

. ,
: 13: Neodredljiv as jednog proletnjeg
dana. Ni sasvim jutro, ni sasvim podne. Kada bi se malo
bolje oslunulo, ule bi se ptice (, . 7).
,
:
.
, .
,
.

, ,
, , ,14
. ,
13 . , , . 10.
14 . , , : , . 12.

429

 ,
.15

: Unutranje dvorite
samostana Svetog Marka u Firenci, a
, : Ulaze Glasnik i Delat, vodei Domenika,
redovnika dominikanskog reda.
: Unutarnje
dvorite manastira svetog Marka u Firenci. Ulaze Glasnik
i Delat, vodei Domenika, kaluera domenikanskog reda
(, . 9). ,

.
,
,
. : Sada
se treba vratiti kui. Prozori su otvoreni, vetar prolazi kroz sobe. Ako neko bude zakucao na moja vrata
veeras, ko e mi dati snage da ih ne otvorim? ovek
ostavi svoj ivot kao to se baca prljavo rublje, a onda
odjednom otkrije da je nag, da mu je zima... (,
. 14).

: Napolju je sunce i otvoreno
nebo. Bez istine, dodue, ali istina je mranija od
smrti (, . 16).
15 . , , :
, . 25.

430

 , , ,

.
: Kao
da plivamo po nekom ogromnom moru bez dna i bez
obala. Tako se osea ovek kada lovi ribu nou: negde
izmeu neba i zemlje, a na sve strane je mrak (,
. 17). , , , :

.
:
,
.

, ,16 .
, ,
, :
Vidim vatru i glave kako se lelujaju iznad plamena.
Vetar prolazi kroz njihova usta, ui i nozdrve. Sluaj.
uje li kako se smeju na vetru, lepo odseene glave
sa finom, glatkom koom na licu? uje li? [...] I tvoja
je tamo, ne brini. Vidim je. Vidim je kako se ljulja na
vetru i kako se smeje. [...] Vidim! I tvoja (, .
3031). -
, , :
16 . , , , : , . 26.

431


.
,
.
.
,
,
?
?
[]
,
.
.

.
[...]
!
.

, , . ,
.17

, ,
:
Sada prelaze preko trga. Prvi jutarnji vetar die
prainu oko njegovih nogu. On ide meu njima, pod
zracima sunca koje se raa, kao stud odjednom iknuo
u nebo. Pogledajte svetlost jutra kako mu treperi u
kosi. On ide kao plamen, kao istina koju vie niko ne
moe da porekne, i koja isti sve. ujete li ga? Njegov
17 . , , . 15.

432

glas tutnji kao grom, a njegove rei sevaju kao munje.

On je plamen, koji ide pred nama kao svetlost istine
(, . 65).

. , , , , ,

. : ,
. , .
,
? (, . 56).

,
.
,

.

, cum affectu,
,
.
,
,

,
adlicenti, ,

433

 Apologeticus
de ratione poeticae artis (149192).18
,
.
, . De ruina mundi (1472) De
ruina ecclesiae (1475),
, ,
Mater Ecclesia, o . -- forma personae

, .
, , De ruina mundi, ,
. ,
,
. 610
, 14 ( ), 59 ,
. ,

,
La storia di Girolamo Savonarola (II, , 1859
1861), : Od naroitog je interesa drugi
18 E. Marino, Sul trattato Apologeticus de ratione poeticae artis di
fra G. Savonarola, y: Memorie Domenicane, N. S., 1998, . 181
.

434

tom ove studije, u kome se nalazi i sasvim pouzdan

izbor Savonarolinih tekstova, meu kojima panju
svakako da privlae po nekima apokrifni zapisnici
sa njegovih sasluanja: neke reenice iz tih zapisnika
govori Savonarola u poslednjoj slici drame (, .
67).
, , , : Anima bella, che le
membra sante... (, . 60, 61).
, ,

.19 ,
,
.
,
, [] ,


.20

, . gaudio.
Ad divam Katarinam Bononiensem,21
19 . . , , . 2223.
20 . , .
, . 45.
21 , ,
: Anima bella, che le membra sante, / Salendo al ciel, abbandonasti in terra, / Per far fede fra noi dellaltra vita; / Or ch
fornita pur la lunga guerra, / Ove giammai non fusti isbigottita,
/ N mai voltasti al Sposo tuo le piante, / Sei gita a lui davante /

435

 , . ,
Corpus Domini.22
,
,
,
(Hteo sam da govorim sa svojom duom, i da
se pitam ta sam ja. Ali ona je utala. Uostalom, ko
zna ta je to to ovek ima ovde, i to zove svojom
duom? Ima li ti duu? , . 33). , De
consolatione crucifixi.23


,
. . : []

Col cor pudico e con la mente pura, / Per trionfar della tua gran
vittoria, / In sempiterna gloria, / Fuor di questaspra e cieca vita
dura, / L dove ormai con Cristo sei secura Poesie di fra Girolamo
Savonarola. Tratte dallautografo, Presso Antonio Cecchi, Firenze
1862, . 57.
22 Caterina de Vigri, ( 1463).
. ,
Canzona ad divam Katarinam Bononiensem (
, . 1487).
23 Quando el suave mio fido conforto / Per la piet de la mia
stanca vita [] // Degni non son de la suave pioggia, / Chi di l stilla dove amor salloggia. [] // Alma, che fai? Or questa or quella
corda [].

436


.24
,
:

.25 ,
,
:26
,
, ,
;
;
, , ,
.
,
,
, ,
: Ja
verujem u tebe, verujem da si ti istina, verujem u sve
to hoe (, . 51);
24 . , , . 35.
25 .: . , .
, . 47: [] []
, , ,
, ,
.
26 . , :
.

437

 , : unutra je prazno kao u naim duama! On klei na podu,

ali i on je samo jedna velika praznina. [...] sluajte tu
nau istinu! [...] Sluajte je kako je prazna, sluajte!
().
,

: Veritas, . ,
Contemplata aliis tradere, .

. :

, .27
.
,
, , ,
. ,
, . ,
,28
,
, :
.
:
, ,
27 . , , . 96.
28 . , :
, . 71.

438

 , , , , ,
, .29
, , :
,
,
. ,
,
- .
,

(1988). , , .
[]. a - , ,
,


.30

, , , .

:
29 , . 73.
30 , . 75.

439

ALBERTI: [...] eka se samo Savonarolina re.

Ne gledajte me tako, Malatesta. Ja sam ostavio
svoje prevode grkih filozofa, vi svoje rasprave o
Zenonovim paradoksima, i doli smo ovamo da
bismo nali neto vre od pitanja koja veito
ostaju bez odgovora. [...]
MALATESTA: [...] Pitam se ta ste vi traili u
ovom samostanu, Alberti.
ALBERTI: to i vi, istinu! Poinje polee. Vi ne
volite prolee, Malatesta? Ne volite sunce, kie
koje se sputaju kao bujice i okrepljuju bolje od
blagoslova? Da nisam u ovoj mantiji, etao bih
obalom reke i razmiljao. ovek je uvek mudriji
pored vode. Bili smo nekakvi humanisti, Malatesta, ta smo sada?
MALATESTA: Trebalo je da ostanete humanista,
Alberti. Prevodilac manjih spisa velikih filozofa.
ALBERTI: Ne morate mi se podsmevati. Ako ste
jednom uspeli da reite Zenonove paradokse, da
otkrijete zato strela ne leti i zato brzonogi Ahil
ne moe da stigne sporu kornjau, jo ne znai
kako ste pokupili svu mudrost sveta. Uzgred
budi reeno, ta ste uradili sa tim svojim spisom?
MALATESTA: Spalio ga, kao i sve ostale.
ALBERTI: Na ovoj velikoj lomai koju je Savonarola zapalio i na koju su humanisti bacali svoje
bezbone knjige, slikari svoje bogohulne slike, a
kurve svoju lanu plavu kosu? Imao sam bolje
miljenje o vama, Malatesta.
MALATESTA: Ljudi imaju i svoje lomae, Alberti. A vi ste svoje prevode ostavili nekome? [...]
ALBERTI: Oni su u jednom dobro zatvorenom

440

sanduku koji e biti otvoren posle moje smrti.

ovek nikada ne zna ta e sve biti potrebno onima koji dolaze posle njega. (, . 1112)

,
,
,
,31 ,
,
, ,
:32
MALATESTA: ta mi nudi taj va razum, Alberti?
Nekoliko silogizama. Ko je jo silogizmima
uspeo da pomeri svet. Potrebna je jedna vrsta
taka da bi se on pomerio.
[...]
MALATESTA: Zbogom, Alberti. Nadam se da
vae prevode koje ste ostavili potomstvu crvi
jo nisu pojeli. Nai ete ih svee i netaknute:
doterajte ih malo, i objavite. Stei ete malo
slave, i moi ete da ubedite sebe kako verujete
u ono to radite.
ALBERTI: [...] Ali upamtite ovo to e vam rei
obian prevodilac manjih spisa velikih filozofa.
vrstim takama je potrebno najvie oslonca.
[...]

31 . , , , . 39.
32 . , , . 47.

441

 , , lako je podsmevati se intelektualcima, daleko je tee videti kada su oni u pravu (,

. 21).
, .
, , Compendium revelationum; ,
, ,
,33 ,
,34
,
, ,
, ije rei ne razumemo (, . 52),
, , , .
, ,
, ,
,
, ,
,
.

33
: la sua consuetudine di conversare con altri era rara et
sempre a se medesimo usava et era solitario, . : F. Cordero,
Savonarola: voce calamitosa 14521494, Editori Laterza, Roma
Bari 1986, . 14.
34 . , , : . , , . . , , 2003,
. 6061.

442

 ( ) ,
.
, :


.

,
.


,

.35

,
,
,
,
,
.36 , , : , ,

( ) , ,

35 J. Hristi, Sabrane pesme, Rad, Beograd 2002, . 67.

36 . , , , . 27.

443

 :37
ovek pobegne od knjiga, a onda doeka da ga
ubiju u samostanskoj biblioteci. (Prilazi knjigama.) Evo. Pokrijte se bar ovom prainom, samo
nemojte da se vuete okolo tako goli. Liite mi
na pua. Hoete li Homera? Njegov heksametar
je dostojanstven, i stvara utisak veliine. Naalost, njegovi junaci imaju iroka plea i jake
ruke, a vi samo providnu kou, kako ree jedna kurva. Na, uzmite (Baca knjigu.) Moda biste voleli Pindara Arhiloha? Teokrita? Katula?
Propercija? Tibula? Virgilija? Lukrecija? Ovida?
Sapfo? Jedna pesnikinja sasvim bi lepo poveala
krug slualaca vae poslednje propovedi. (Baca
knjige.) Hoete li Tukidida, kod koga istorija ima
dostojanstvo i veliinu tragedije? Kojeta, istorija je malo golog mravog mesa koje vie nema
snage ni da puzi po zemlji (, . 57).

:
, ,
:
.38 ,
, , ,
Anima bella che le membra sante,
, 37 . , .
, . 49.
38 . , , . 1617.

444

 . Litterae, humanae litterare:

, ,
,
Anima bella che le
membra sante
,
.
, () , e poeti da se dogaa samo
ono ega se najvie plaio.
, ,
, : ,
?39 15. , Apologeticus de
ratione poeticae.
, , ;
,
.
,
Apologia contro il Savonarola
(1498), . ,
,
, .
: ,

, renovatio ecclesiae, 39 . , , . 45.

445

 , hic et immediate,
, .

. ,

/
. ,
, , ,
, ,
, .
, . .
,
, ,
, /
, ,

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

,
, ,

446

.

,
- ,

, .
,
,
,
.

, .

447

Persida Lazarevi Di Giacomo

SAVONAROLA, ENCLAVE
POETICA DI JOVAN HRISTI
Riassunto
Nel presente lavoro viene analizzato il dramma di Jovan Hristi, Savonarola i njegovi prijatelji (Savonarola e i
suoi amici) del 1965, nellottica della poetica di Hristi. Si
tratta di unenclave poetica su tre livelli: il primo livello si
riferisce alla presenza di Hristi poeta in questo dramma.
Nel secondo livello invece si analizza la ricorrenza della
poesia del fra Girolamo Savonarola nel dramma di Hristi.
Il terzo livello si riferisce alla tematica presente sia nel
dramma che nellopera poetica di Hristi, e cio ai temi
costanti e comuni che egli tratta e che migrano da un genere allaltro. Il dramma di Hristi si inquadra nella sua
poetica sia in quanto vi ritroviamo alcuni dei temi presenti
nella sua poesia, sia perch riesce a dialogare con essi.

448

: , ,
20. .

( . . , ,
)
,

.
, ,
,
.
,

, ( , 1997)

, , , .
,
(Bernard Johnson):
Poems (AIWA I PEN, 2003).
:
-

449

, , , ,
.

,
, ,
.

(, 27.
9. 1997), ,
,
(Introduction) Poems, -
.
.
:
, 1993.
, . , .
:
50-
. , . (...) .
,
, . ,
.

450

 . . , (New Writing
in Yugoslavia, Penguin, London 1970),
. Poems
:

,
. ( ,
,
) [ . .].
. 23. 5. 1991, :
,
! [ . .].
O , :
.
.
, , ...
. ...
.
, , Literary Quarterly
of the Yugoslav P.E.N., 1965 (I, 2, . 88).
, , , ,
(Mnesarchos, Candles, Islands, Alexandria
Dion Chrysostomos, To Phaedrus) .

: Dion

451

Chrysostomos
,
. Contemporary Yugoslav Poetry
(Iowa City 1977)
,
,
(To Phaedrus, That Night They All
Gathered on the Highest Tower),
/ .
Serbian Poetry From
the Beginnings to the Present,
. (Milne D. Holton) . (New Haven 1988). / , ,
.
John
Chrysostom, ,

!
:
, .
1992/3.
. The
Paris Review ,

(That Night They All Gathered On The Highest
Tower, A Sentimental Voyage Around My Room),
The Horse Has Six

452

Legs ( ), 1992.
Graywolf Press, , ,
: ,
, , , , (To
Phaedrus, Evening Quiet, The Tragedy Is Over,
In The Big Library, Barbarians, In A Dark Hour).


.
,
(Those Who Died Yesterday, My Friends
Are/Were We Truly Friends?, Troy), ,
,
.
.
. [
. .].
, .
.
, , .
,
, The Voice of Canadian Serbs, 24. 6. 1993. ( , ,
1. 8. 1993),
, .
Janus ( 1993)
, , -

453

 (Penelope, Alexander, Son of

the Gods, Barbarians). North Dakota Quarterly (. 61, . 1, 1993)
-
(Richard Burns) . ,
Out of Yugoslavia ,
,
, , (Who Still Needs Fine Stories?,
Socrates on the Battlefield, Barbarians, Orators
Make Speeches on the Squares).
, , Poems,
.

. ,
Special Edition of the Notebooks of
Pierre Menard, Nine Poems by Jovan Hristic.
Translated by Jovan Hristic and Bernard Johnson,
: ,
, Urbi et Orbi, , ,
, , . (Narcissus, Penelope, Urbi et Orbi, Mnesarchos, Candles, Islands, Alexandria / Dion Crysostomos, To Phaedrus, The Play is Over).
,

Poems

. ,

454

, ,
.

(52 ),
,
.
, ,

.
Poems,
, ,
,
.

Poems.


(. , 1988),

, ,
. ,
, ,

. Mezzogiorno
2, 7, 12,
.
, Summer ().
, ,
,
,
The Play is Over (
).

455


, , ,

,
,
,
.

.
, ,

.
.
,
.



.
,

.


.
,

456

 .

: Life Made up of
Trifles, Mezzogiorno, Alexandria, The Sea, the
Sea, The Play is Over ( , Mezzogiorno, , ,
).
,
,
. Poems
. , ,
, ,
-, , Urbi et Orbi,


: , ,

. , , ,
, .
,
,
Poems, ,

.

457

Mezzogiorno (1, 2, 3)
,
, , , 1970.
.

.

, :

,

?
, .
,
, , ,
,
.
, .
.
, ,

458

 /.


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


,
:
, , .

/. ,
,
. , / -

459

 .

:

,
,

.

:
Recall at times our name too.
Let its sound resound in the resonant air.
Let it ascend toward that heaven it could never
reach,
So that in your conversation, at last, our souls
may find peace.

a o /:
Mention our names at times amongst your talk:
Let their sound spread along the vibrant air,
Upwards towards the sky they never reach,
To find at least within your speech their rest.

recall
( a), mention
() , conversation speech (),
, / (names).

-

460



. (?) .
. ,

!

,
,
. , ,
. :
. ,
,

.
:
( )



.

.

461

 , .


.
. ,
,
,
.

,

.

Johnson: AT THE DARK HOUR

At some dark hour, (with more of them each
day),
He sits there in his room which slowly fills with
dusk
Like smoke that rises, crawling through the
gardens
Where leaves just fallen lie, awaiting the first
frosts,
And cannot bring himself to reach the light
thats close at hand.
At any moment footsteps will be heard.
Some god who comes along to close the door
On one more of his lifes rooms that hell no
longer enter.
He waits to hear the footsteps fade. And then
gets up,
Puts on the light, stays standing in the room,

462

Surrounded by his books and papers, last

survivors.
And knows that not a thing of what he wished
for
will ever come about,
Only those things he feared the most will soon
begin to happen.
Simi: IN A DARK HOUR
In a dark hour, (there are more and more of
them now),
He sits alone afraid to turn on the lights within
reach of his hand
In a room that the darkness is slowly filling,
Like smoke that till then had lingered in the
gardens
Where they burn the newly fallen leaves
waiting for the first frost.
In a moment now steps will be heard.
Some god is coming to close the door
To one more room in his life
He will never again enter.
He waits for the sound of steps to cease.
Then he rises, turns on the light
And stands motionless in the middle of the
room,
The last one that remains to him, full of books
and papers,
And knows that nothing of what he desired will
happen,
Now that what he feared most is already
happening.

463


,
.
. : The Tragedy is Over.
/ The Play
is Over.
. play,
, , ,
. , , . . ,
, The Play is Over,
, ,
play .
, .
, ,
,
.

. !

.

-

464

 .

familiar,
.
common places
. ,
, ,
,
, , , familiar ( )
, , ,
, , , . ,
,
, ,
.

,
.

.
,
( ).

465

( !).

, ,
,

.

Marta Frajnd
THE ENGLISH TRANSLATIONS
OF JOVAN HRISTI S POETRY
Summary
Jovan Hristi s poetry was translated into English by
two expert and devoted translators a Slavist scholar, Bernard Johnson and a poet, Charles Simi. Johnson translated Hristi s poetry over decades, ending with a book
Poems (2003) that contains almost the whole of the poet s
work. Simi translated eleven poems and most of his translations were published in an anthology of Serbian poetry,
The Horse Has Six Legs (1993). The translations, especially Johnsons (which were often done in close cooperation
with Hristi who was an expert in English language himself), are interesting for many reasons, apart from their
importance for the presentation of Serbian poetry of the
20th century to international audiences. They open several questions on a wider poetic and theoretical level the
main ones concerning the changes in meaning and feeling
of poems translated in cooperation, or at least in agreement with the author himself, and the possibilities of new
readings of Hristi s poetry based on changes effected in
the process of translating.

466


, ( ) 112,
114, 119, 120
, 18, 35
, (Albert Einstein) 63
, (Tommaso dAquino) 438
VI, (Alessandro VI) 425
() 303, 445
() 411
, ( ) 148, 149
, (Roland Barthes) 274
, (Cecil Maurice Bowra) 49
, (
) 106, 123
, (Gaston Bachelard) 189
, (Marvin Bell) 57
, 424
, (Gottfried Benn) 221
, (Henri-Louis Bergson) 304
, (Bernard Berenson) 315
, (Richard Burns) 454
, 28, 29
, (William Blake) 114
, ( ) 91
, (Harold Bloom) 78, 79, 106, 120
, (Charles Pierre Baudelaire) 25, 26, 117, 178,
189, 213, 310, 383, 395401, 407, 420, 421
, 17, 18
, 158
, (Jorge Francisco Isidoro Luis Borges)
59, 398, 439
, (Alain Bosquet) 409
, 191204

467

, (Robert Browning) 61
, (Fernand Braudel) 132, 189, 227, 228
, ( ) 57,
82, 96, 99, 100, 102, 103, 123
, 365
, (fra Domenico Buonviccini)
425
, (Ambroise-Paul-Toussaint-Jules Valry) 9,
20, 25, 50, 70, 142, 150, 151, 153, 188, 189, 216, 221,
222, 226, 228, 230, 234, 243, 338, 366, 395, 396, 402,
403, 409, 411415, 418421
(Publius Vergilius Maro) 5759, 64, 7679, 84,
123
, (Pasquale Villari) 434
, (Edmund Wilson) 61
, 273
, 79, 88, 128, 367, 368, 390
, (Norbert Wiener) 330
, 434
, (Ludwig Josef Johann Wittgenstein)
141, 288, 289
, 10, 11, 16, 17, 38, 81, 94, 95, 110, 111,
120, 155157, 170, 176, 184, 203, 222, 226, 227, 267,
340, 380, 455
, 120, 197
, 120, 197
, (Johann Wolfgang Goethe) 87
, 242, 266, 338, 428
, 195
, (Robert Graves) 57, 272
, (Jean Grenier) 417, 418
, 196
, 128, 367

468

, 128, 176
, (Alighieri Dante) 5664, 66, 67, 77, 79,
82, 83, 96, 117, 120, 123, 180, 221, 409
, (Ren Descartes) 25, 44, 109, 110, 114, 178,
200, 395, 411, 413
, 1545
, 21
, 129
, (Lubomr Doleel) 318
87
, 22
, 363, 375
, 128, 223, 224, 371, 387
, . 272, 275
, (Paul luard) 69
, (Thomas Sterns Eliot) 9, 10, 20, 24,
25, 44, 61, 63, 66, 67, 70, 71, 7579, 8386, 89, 91, 92,
95, 120, 122, 123, 138, 142, 149, 150, 178, 216, 280,
296, 310, 338, 395, 449
, ( ) 102,
120
() 236
, 146
, (Andr Gide) 69
, (Rene Girard) 402
( ) 131, 230, 240, 243, 411, 413
415
, (Georg Simmel) 170
, . (Walter H. Sokel) 341
, 335, 337, 339, 341
, 129, 153, 277, 289, 293, 317, 406

469

, 399
, 399
, 315334
, 20, 29, 34, 347, 358, 388
, 363
, 163, 170
, 291313
, (Werner Wilhelm Jaeger) 332
, (William Butler Yeats) 70
339
( ) 452, 452
, 12, 17, 94, 155, 167, 170, 175190,
206, 209, 233, 287, 288, 295, 305, 317, 356, 359, 361,
367, 373, 375, 428, 441, 445
, 361
, 241264
, (Marguerite Yourcenar) 25, 189, 395
, ( . ) 9, 10,
25, 26, 49, 50, 57, 6268, 70, 115, 116, 120, 123, 142,
178, 197, 222, 243, 244, 287, 288, 338, 359, 395
, ( ) 62, 123
( )25, 3537, 117, 131, 243, 338
, (Albert Camus) 25, 69, 189, 221, 230, 283,
297, 395, 417, 418
, 87
, (Franz Kafka) 341
, (Raymond Queneau) 339, 403
, (Edmund Keely) 67, 93, 98, 120
, 21, 335, 339341, 403
, (Paul Claudel) 426
, 10, 11, 17, 18, 38, 94, 106, 107, 110, 112, 119,
120, 137154,156, 164, 170, 176, 181, 238, 267, 295,
322, 331, 336, 344, 356, 368, 375, 442
, 16, 43, 94, 226

470

, 21, 400
, (Franco Cordero) 442
, (Pierre Corneille) 297
, 25, 47, 70, 128, 227, 237, 338, 361, 390, 391
, 362
() 408
, 423448
, . 911, 15, 16, 19, 20, 25, 28, 29, 34, 35,
37, 45, 65, 69, 73, 74, 80, 81, 90, 91, 94, 115, 118, 119,
121, 122, 125129, 137, 150, 155, 157, 170, 176, 213,
221227, 230, 244, 259, 265267, 295, 317, 335, 339,
340, 355, 356, 358, 359, 361, 375, 379, 380, 387, 388,
391, 402, 410, 417
, 283
-, (Claude Lvi-Strauss) 145
, ( )
82
, (George de Forest Lord) 78, 121
, (David Herbert Lawrence) 57,
65
, . ( ) 113, 121
, ( )
93, 121, 426
, (comte de Lautramont) 404
, 16, 94, 226
(Titus Lucretius Carus) 230
, ( ) 102
, (Giancarlo Maiorono) 57, 61, 121
, (Peter Mackridge) 66, 98, 120, 121
, 102
, 129
, (Stphane Mallarm) 125, 310, 384,
402, 404, 415, 420, 421

471

, (Thomas nn) 344

, (Alberto Manguel) 398, 401
, ( )
25, 68
, (Eugenio Marino) 434
, 203
, (Arnold Markley) 60, 61, 121
, 88
, . 454
, 25, 69, 110, 142, 150, 151, 153, 177, 216,
224, 226, 230, 232, 233, 284286, 329, 356, 358, 359,
380, 383, 388, 391, 395, 400, 413, 415, 417
, (Lorenzo De Medici) 425
, (Christoph Menke) 196
, . (William Stanley Merwin) 57
, (Xavier de Maistre) 178, 401403
, (Joseph de Maistre) 401
, (Henri Meschonnic) 426
, 11, 17, 35, 94, 157, 168, 170, 295, 316,
317, 330, 335, 337, 357, 364, 373, 375, 431, 441, 443
, 355377
, 9, 21, 25, 68, 72, 73, 98, 128, 137, 183,
335, 365, 367
, (Pico della Mirandola) 425
, 272
, 335
, 82, 120, 310, 403, 412
, 452, 453
, 16, 69, 94
, 120, 280
, (Adam Bernard Mickiewicz) 87
, 20, 72
, (Henri Michaux) 70, 396, 404406, 412, 421,
449
() 131, 243, 300, 301
, ( ) 98

472

, 368
, 79, 87, 128
, 11, 12, 17, 94, 129, 242, 246, 265290,
295, 299, 316, 338, 357, 368, 375, 428, 437439, 450
, 335
, 129
, 395421
(Novalis) 402
() 113
, 450
, (Carlo Ossola) 426
, 16
, 356, 376
, 10, 16, 17, 21, 25, 68, 69, 73, 87, 90,
91, 94, 96, 97, 123, 128, 383
, 88, 224, 304
, 11, 17, 25, 125136, 153, 222, 242, 277,
289, 293, 317, 339, 357, 376, 406, 430, 435
, 379391
( ) 230, 234, 235, 237
239, 415
, 424
, (Blaise Pascal) 177, 301, 395, 397, 399401,
403, 407, 413
, (Ezra Weston Loomis Pound) 70, 148, 149
, 21, 305
, - (Saint John Perse) 83, 180, 339, 395, 396,
408, 409, 412, 421
, 88, 128, 267
, 284, 321, 325, 330, 357, 374, 376
, (Francesko Petrarca) 221, 384
, 16, 55123
, 288

473

, 129
, 390
, 79, 128, 358, 359, 362, 387, 388
() 410
() 207, 221, 275277, 303
() 25
, (Frncis Ponge) 339
, 9, 10, 20, 26, 35, 73, 87, 114, 121, 128, 339,
365, 387
, . 16, 163, 170
, 9, 22, 25, 29, 34, 37, 70, 189, 209,
210, 222, 291, 292, 306, 310, 312, 338, 358, 359, 369,
370, 380, 389, 391, 426, 427, 436
, (
) 87, 102
, 361, 390
, 9, 128, 137, 176, 335, 371, 412
, 10, 11, 17, 94, 112, 122, 150, 156, 170,
175, 205220, 225, 243, 267, 331, 336, 338, 356, 376
, 10, 128
, 70, 116, 175, 267, 387
, (Jean Racine) 297
, (Pierre Reverdy) 407
, (Jean Nicolas Arthur Rimbaud) 252, 339,
344
, (Rainer Maria Rilke) 146, 147, 153,
335, 340342, 345
, 335345, 347351
, ( ) 62, 96, 98, 99, 102, 103,
123
, 230, 235237
, (Girolamo Maria Francesco Matteo Savonarola) 423, 425, 427, 431, 433438, 442446,
448

474

, (Francesco Saverio De Sanctis) 330

, 121
, - (Jean-Paul Sartre) 69, 395, 401
(Caterina de` Vigri) 436
87
, 317, 330
, 211
, ( ) 62, 63, 66, 67, 81, 93,
96, 123
, 304
, (Charles Simic) 450453, 456, 458461,
463466
, 16, 94, 128, 335, 340, 364, 376, 429
, (Giacinto Arturo Scaltriti) 425
, 129
, 335
() 21, 49, 71, 131, 243, 275280
() 79, 191, 282, 284, 298, 303
, 158, 170
, (George Steiner) 195
-, 335352
, 26, 129
, (George Thaniel) 67, 122
, (Alfred Lord Tennyson) 5662, 64, 66,
79, 97, 99, 123
, 129
, (Dylan Thomas) 367, 449
, (Georg Trakl) 339, 344
, (Wallace Fowlie) 62, 122
, (Marsilius Ficinus) 445
, (Gustave Flaubert) 403
, 424, 449466
, (Sigmund Freud) 100, 145, 304, 406

475

, 12, 18, 4754, 69, 94, 122, 156, 157,

162, 170, 208, 226, 285, 286, 295, 316, 331, 336, 344,
356, 359, 376, 424, 428, 435, 437, 443, 444
(Georg Wilhelm Friedrich Hegel) 192, 413
, (Friedrich Hlderlin) 25, 29, 216,
298
() 235
, . (Milne D. Holton) 452
() 11, 21, 25, 5560, 62, 64, 66, 7779, 81,
98, 123, 131, 153, 189, 243, 272, 273, 362, 390
(Quintus Flaccus Horatius) 25, 131, 243
, ( ) 398
, 22, 25, 63, 6568, 79, 96, 107, 123,
128, 147149, 224
, ( ) 297,
404
, 155172
, 274
, 16, 94
, (James Augustine Aloysius Joyce) 22, 56, 57,
6163, 70, 79, 106, 114, 120, 123, 338
, (Bernard Johnson) 449462, 464466
, 11, 221240, 243
, (William Shakespeare) 40, 43, 56, 79,
123, 297, 301, 304, 384

476

, 2

, 43
*


.
*

600
*

,
ISBN 978-86-7849-133-7

CIP
,
821.163.41.09 . (082)
821.163.41:929 . (082)
:
/ [ ].
:
: , 2009 (:
). 476 . ; 24 cm . (
. ; .
10)
600. . 9-12:
/ .
.
- . Summaries.
.
ISBN 978-86-7843-133-7
) , (1933-2002)
COBISS.SR-ID 170391052