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Jovan Deli
LALIS DIALOGUE WITH CONTEMPORARY
SERBIAN POETRY
- Towards an Explicit Poetics of Ivan V. Lali Summary
The paper analyses the essays of Ivan V. Lali on 20thcentury Serbian poets with a view to arriving at the poets
poetic and literary-theoretical criteria, that is, at a kind of a
mosaic picture of the epoch.
In his essays, Lalis antinihilistic world-view came to
the fore, that is, his notion of poetry as a celebration of the
visible. Particular attention was paid to the thematic trinity of
death, time and language, and also to the poets poetic views
on rhythm, verse, standard forms, especially the sonnet; to
the relationship between poetry and myth and religion, the
creative process, tradition, quotations and evaluation.
Through his dialogue with contemporary poetry, Lali
sharpened his poetic principles and critical criteria, bringing
his poetic practice into connection with the works of the
poets he liked and wrote about.

58



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, . . . . . , p p.
p p, p, 1996.
, . . I, II, Beograd, 1997.
, . . , . , , , p, 1971.
, . . CD, p 6.
p 1983 ( p p
).
, . , Zyklusdichung in den slavichen
Literaturen, Peter Lang, Frankfurt am Main, 2000,
287-298.
, . : , p, 1996.
, .
, . p, p ,
p, p, 1977.
Mustard, H. The Lyric Cycle in German Literature,
New York, 1946.

89

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

90

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

91

 -

.

- .

,
(. , , ).


,
.

1
.


. (),

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

93


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. , , ,
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, , 1997, . 39.
3

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, 1997, . 13.

94


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, 1999, . 77-124; -: . , . , . 15-23; ,
. , , , 2004; : (
. . . ), ,
2006, . 1, . 200-212.

frames, scripts. . Plotting the

Lyric: Forms of Narration in Poetry, Theory into Poetry. New
approaches to the Lyric, Amsterdam-New York, p. 150.

95


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(Discourse
Events),
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(Georg Heim, 1882-1912),
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: Lyrik des Expressionismus, Hrsg.

von Silvio Vietta, Max Niemeyer Verlag, Tbingen, 1999, S. 6972.

12

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107

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

108

.

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,
(travel poetry).


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1987. :
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: Piazza Navona (

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

131

meanings of Lalis lyrical poetry. Within the framework of

the travel writing context, we place first of all those works
whose thematic orientation is focused on shaping the model
of foreign space from the perspective of the travel writer who
describes and evaluates it on the basis of his own experience
and the culturological home-country basis from which he sets
out on his journey. We encounter the motifs of journey and
travelling as early as the first collections of Lalis, and they
are realised in various ways, that is to say, they are realised
in a lyrical manner in different contexts. At the same time, we
must emphasise that such a thematic orientation is crossed with
the basic issues and topics of Lalis singing, that is to say,
it is rarely realised in itself, and a description of the foreign,
almost as a rule, never becomes the dominant purpose of a
poem. Following his travel writing stimuli, the author, moving
from one collection to another, developed his own travel map,
whose footing were the places he loves, adding to the spatial
dimension a temporal dimension, myth, history and personal
existential experience.
In this way, one can establish a kind of typology of travel
writing elements and try to explain how they function in Lalis
poetry. The central circle of poems thus singled out is made up
of poems in which the motif of journey and lyrical modelling of
space is included in the singing of poetic issues (here we refer,
first of all, to poems such as The Places We Love, Argonauts,
Mnemosine, Vojislavs Garden, Home Country, Map).
The travel writing basis from which the poet proceeds, that is
to say, where he places his poetry, is first of all the area of the
Mediterranean basin, stretching from Israel through Greece to
Italy, and space and time are inseparable categories in Lalis
poetry, so that a place is inseparable from the event which once
took place there. A significant circle of poems with a travel
writing basis is made up of those poems marking the privileged
places in the home country, and towards the end of the paper,
we point out a poem with a very pronounced travel writing basis
Voyage philosophique, of which we may say that it is unique
in the poets opus, for it lyricises the spaces of north Europe and
models an awareness of a different travel-culturological basis.

132

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, 2002.

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

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4. (1992)
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(Fading Contact, translated by Francis R. Jones),

(1975), . , , ,
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4
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2004, . 1173 - 1174.

.: Francis R. Jones Introduction : Ivan V. Lalic, Fading

Contact, translated by Francis R. Jones, Anvil Press Poetry, London, 1997, . 9-17.

136


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: Ivan V. Lali, A Rusty Needle,
translated by Francis R. Jones, Poetry Book Society, Anvil press
poetry, 1996.
6

, ,, : , , . 51, . 53, . 11-12, 1996, . 1381.

7

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 Mare Mediterraneum .
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157

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

.
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27

, . 116-117.

, ,,
. : , , 2005, .
287-305.
28

158

 , . ,
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.

: ,,, .
,
.

Svetlana eatovi-Dimitrijevi
LALIS SEA, FROM MEDITERRANEAN
SENSUALITY TO OLD TESTAMENT FEAR

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

159

Mediterranean poets Cavafy and Valry. The motif of the

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

160


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191

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

192

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

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. , I-IV, , , 1997.

194

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203




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206


11(5+6).
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208


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11
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209

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, 278-279.

210

Sanja Paripovi
IVAN V. LALIS VERSIFICATION
Summary:
The paper reviews all of Lalis collections of poetry,
presenting each of them in terms of the number of poems
they contain, the type of verse and the form of the stanza. By
renewing some basic verse and poem forms, Lali returned
to the symbolist tradition. He used Roman and Classical
forms such as the sonnet, sestina lirica, strambotta, lauda,
terza rima, hexameter. At a moment in time when traditional
poetic forms were being rejected, Lali strove precisely
for that strict form of rhymed verse and tight composition,
which is particularly in evidence in the collection Letter. In
the collection entitled Four Canons, he renewed the form of
the mediaeval poem, which he wrote using free verse and a
modern language. The correlation between the first and the
second canon, and between the third and the fourth one, is
evident on the level of certain poems and the metre.
The specific character of Lalis verse organisation is
reflected in his predilection for organising poems in cycles
that sometimes link several books. Shaping his poetic
expression in graphic terms, he presented the verses in such
a form that he created the illusion of another metric pattern
or a different length of stanzas. Even though most of his
poems do not rhyme, other phenomena contribute to their
rhythm frequent repetition of certain sounds, especially
in the form of anaphora, repetition of certain words and
entire syntagms in different verses of a poem. The melodic
harmony of the verses, even the entire poetic text, is
disturbed by pronounced enjambments, which can be found
in almost every poem written by Lali.

211

The majority of the poems were written using free

verse, which cannot be viewed as a reflection of his attempt
to avoid classical metric forms. When it comes to rhymed
verse, a specific form of iambic hendecasyllable is most in
evidence.

212

II

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. ,1983, . 103.

215

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216

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. . . , 1996, .
225.

217



Clamor, vulnera, sanguis palam,
Causa in occulto



,
, ,
, , .

15

20

,
, :
Opus adgredior opimum casibus, atrox proeliis, discors
seditionibus, ipsa etiam pace saevom3.
5 6 .
( 11-13). ...
.
e

(BC 1.616-29).
, , .

, ,
, ,
, (Tac. Hist.1.2).
P. Cornelii Tciti Libri qui supersunt,
rec. Carolus Halm. Lipsiae, 1923.

218


.
. 4 templum-
, , ,
.
,
,
. (Ann.1.49).
clamor, vulnera, sanguis palam, causa in
occulto, palam / in occulto,

,
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, cetera fors
regit, causa / fors,
.


4

, , Tac. Hist.1.18, 27.

219

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(6-8), a :

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E Pindari carmina, rec. Otto Schroeder. Lipsiae, 1923.
5

6
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221

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222

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223

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(Nem.7.11-12,14-16)
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(Plat. Io. 534b)10
10 .. . , 1982, .
175-220.

224

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. , 2007. . 239-53.

225


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, ; 12

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.
,
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10

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, . . . , 1996. . 214-19.

226

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30

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(Georg. 4. 120-48).

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.
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 (Georg.
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(4.315-565). .

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228

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

229

the poet as a semantic basis of poetry about inspiration. The

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

230



. , . . , . .
.

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.
. , ,
,

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, .

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231

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,

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.
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.1
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ce
, . je
ce ,
ce y , ,

232


,


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.2
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, je
.
je
, ,
, je
. je ja , y
, , ce
-. ce
Bas Empire. ,
j , 6. 9. , Zepter Book World,
, 2000, . 49-50.
Ha ce :
, ,
, , , . Ha ce ,
a
, - . y
, y .
ce
, .
, . 51.
2

233


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Bojan Jovi
BYZANTIUM AND BYZANTISM IN C. CAVAFY, W. B.
YEATS, I. V. LALI AND R. SILVERBERG
Summary
With reference to the pronounced thematic and motifrelated presence of Byzantium and Byzantism in the poetry
of Ivan V. Lali, the paper presents the basic elements
of a comparative analysis of related phenomena in the
history of contemporary European literature. It points to
the literary-ideological background of literary creation,
thus complementing purely poetic analyses, first of all
by reviewing the (individual, poetic) notion of history;
questions are raised pertaining to the broadest cultural and,
more narrowly, poetic motivation of New Age writers who
seek inspiration in the heritage of a social-political and
ideological-cultural entity that perished many centuries ago;
about the specific characteristics of the Byzantine cultural
and historic heritage that make it interesting to contemporary
artists and writers belonging to diverse poetics and national
traditions; about the type of reading/dialogue conducted
between writers who address certain aspects of what would
be called Byzantism. Pointing out the basic characteristics
of the individual treatment of this thematic complex in C.
Cavafy, W. B. Yeats, I. V. Lali and R. Silverberg, the paper
ends with a synthetic review of the issue.

263

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316

Persida Lazarevi Di Giacomo

LA RICERCA DI UNA SINTESI ESPRESSIVA:
LITINERARIO ITALIANO DI IVAN V. LALI
Riassunto
Nel lavoro viene trattata la presenza dellItalia nella
poesia del poeta jugoslavo Ivan V. Lali (1931-1996) sia
dal punto di vista formale sia dal punto di vista tematico.
Sul piano formale interessante sottolineare come Lali
ricoresse spesso alle tradizionali forme poetiche italiane
(sonetto, strambotto). Per quanto invece riguarda la tematica,
la maggior parte delle poesie di Lali con temi italiani
possono essere divise in due cicli: quello del Mediterraneo,
nel quale vanno inserite le poesie che hanno come luogo
dazione Roma e i suoi dintorni, e il ciclo di poesie che
vertono intorno a Venezia e alla sua laguna, che a loro volta
sono legate al ciclo su Bisanzio.

317

,
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1
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Jelena Novakovi
LES AUTEURS FRANAIS DANS LES ESSAIS
DU POTE SERBE IVAN V. LALI
Rsum
Les auteurs franais ont laiss des traces non seulement
dans la posie de Lali, mais aussi dans ses essais, o il
tablissait une sorte de dialogue avec eux. Il se rfrait
Paul Valry, Rmy de Gourmont, Roland Barthes, JeanPaul Sartre, Raymond Picard, George Steiner, MauriceJean Lefebve, Claire Lejeune, soit pour corroborer son
jugement par leurs citations, soit pour leur adresser des
critiques discrtes.
Lexamen de ces rfrences et de ces citations rend
possible davoir une ide plus complte de loeuvre de
Lali. Il incorpore les fragments cits ou mentionns dans le
contexte de sa propre pense littraire, o le pote lemporte
sur le thoricien et o la conception de la critique littraire
reste troitement lie la potique, sans tenter de sorganiser
en un systme thorique cohrent. Imprgn des ides
de T. S. Eliot, qui met au premier plan linterprtation du
texte lui-mme, ides sur lesquelles est fonde la nouvelle
critique anglo-amricaine, Lali naccepte pas toutes les
acquisitions de la nouvelle critique franaise, qui a tendance
se transformer en une cole et dont les ambitions thoriques
lui semblent trop grandes.

344


:

Questo il fin di chi fa mal
E de perfidi la morte
Alla vita sempre ugual.
(

, , .)1

,
,
,
, ,
. ,
.
,
,
,
,
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, , 1988, . 83.
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10

350

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11

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12

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13

353


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14

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in realitate.15

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Ernst Bloch, Princip nade, trei svezak, prev. Hrvoje arini,
Zagreb, 1981, str. 1275 ( ).

15

356

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16

357

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17

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358

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.19

.
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18

. : Volfgang Hildeshajmer, Mocart, str. 153.

19

Sren Kierkegaard, Ili-ili, str. 120.

359

, . ,

( 1587.
1630.
),
, .
,
, ,
:
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,

.20
, ,
, , 1986, . 11.

(1978),
.

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! (. , , . ,
, 1995, . 185).
20

360

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.
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21

: Ernst Bloch, Princip nade, str. 1248.

361

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,
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, . 12851286.

362

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, . 1270.

363

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364

Predrag Petrovi
BETWEEN MUSIC AND DEATH:
LALIS POEMS ABOUT MOZART
Summary
The paper follows the dialogue and the connections
between Lalis poetry and Mozarts music, life and characters from certain musical works, first of all the hero of
the opera Don Giovanni, a work that has been the subject
of intense interpretative analysis by a number of artists and
philosophers over the last two centuries (Goethe, Kierkegaard, Ernst Bloch, Theodor Adorno, Hans Meier and others). There are three poems by Lali that are dedicated in
their entirety to a poetic pondering of Mozarts artistic nature: Mozarts Grave from the collection Bad Connection
(1975), and two poems bearing an identical title Mozart,
from the collections Circle (1968) and Passionate Measure
(1984) respectively. This small group of poems is of importance for possible interpretations of some essential poetic
footholds of Lalis pertaining to his constant pondering of
death, the relationship between the visible and the invisible,
that which is of this world and the metaphysical. Analysing the artistic methods used and the images contained in
these poems, the paper examines the issue of the extent to
which their immanent poetics, raising dilemmas about the
nature of music, its ontological status and relationship to the
medium of language, is connected with Lalis lyrical opus
as a whole. Through its motifs and manner of expression,
Lalis poetry is midway between the phenomena of music
and death, not as opposites but as fellow travellers towards
the otherworldly.

365

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

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, .

,
367

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,
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.
.
,

, 1,
, , . ,
(1969)
. , ,
, . 1
. , , : ,
, , 1996, . 11.

368

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.
, ,
,
, . ,
,
,
.
,

(1964) :
[...] ,
,

.2

,
,
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,
, : , , ,
.
:
2

, , , 1964, . 19.

369


. , , .3

.
, , ,

, . , ,
, 1992. , : , .4
,
,
.
,
,
: ,
, .
, , , . (
: , , , 2005, . 104105.
3

: , , , , 1995, . 26.

370

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, . 49.

371

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6 .
: , ,
, , 1992, . 92 . 112113.

372


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, , 2006, . 123130.

373

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8
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, 1980, . 190.
9

, . 188.

10

, . 192.

375

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376

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. 97112.

378

,

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,

.

.
1985. , .
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12
. : . , , , , 1997, . 271.

379

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. 21.
13

380

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.

381

Dragan Hamovi
IVAN V. LALI AND JOVAN HRISTI
IN A POETIC PARALLEL
Summary
As poetic coevals, Ivan V. Lali and Jovan Hristi
shared the essential theoretical postulates, as well as certain
thematic preoccupations; they essentially diverged, however, in accordance with the measure of their poetic individuality. Lalis poetry affirms culture as meaningful work;
it resulted in an encounter between modern and mediaeval
Serbian poetics, recreating the ancient sacral genre of the
canon and the Orthodox view of the world. Hristis poetry,
on the other hand, proceeds from the dcor taken over from
the era of antiquity and a striving for sensual immediacy; in
its final phase, it affirmed the ephemeral moments of personal life experience, preserved in memory only and of importance only for the individual who remembers.

382

1. . .

, .
, , , 5. 21.
1971. , : - ; - homo sum, imago mundi. : (
) 4 ! 9?. , , ,
24. 11. 1983. , :
: (), ? .
, -
.
,
.
, , . , ,

.
383

 ,
, 1995. .
,
, : : / 6. X 20. XII 1995. / 75 / 31
.1
, / ,
/ , , /
, /
II (
).

( ,
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:

.
?
: . ,
, .
-
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.
1
: . , ( ), . III, , , 1997,
. 266-273.

384


, ,
.
.2



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,
.
. 162, 165, 171, 215, 220-230. . ,
, , : ,
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,
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2
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1970, . 97-129. . 119123.

. ,
3

385


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/ Via dolorosa,
IV .
( ,
1:12:
(, 1984),
, ,
, : I 13:12, 15:28
En psipanta Theos, .
511:36. ,
5,
.

386

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, . ( ), CIII a 1996. , 1997, . 561-569;
, . , I-IV . , , , , 1997. . 9-83;
, , .
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1997, . 90-91; -, ( .
), , , 2004.
4

387


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, 10. 1995), , , ,
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389




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, . 235.

390

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391

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393

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7. 1995):
.

, .
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: e
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(1 . 3:32).

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394

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3. , , ,
, 395

 .
.

Aleksandar Jovanovi
THE SPIRITUAL PATRIOTISM
OF IVAN V. LALI
OR
ON THE CULTURAL-HISTORICAL STIMULI
OF FOUR CANONS

Summary
Four Canons is Lalis final and testamentary collection of poems. In it, the authors great knowledge of literature and culture was strongly permeated by poetic sensitivity. His knowledge of mediaeval poetry and its most important poetic genre, the canon, and of theological issues,
Serbian and European poetry and poetics, philosophy and
art, is built into the destiny of the individual, determined by
the specific time and space. The paper reviews the culturalhistorical subtext of this collection and, in particular, the literature the poet read immediately before and in the course
of its creation, of which he left detailed notes.
Whatever the poet touched upon, from liturgical singing to literary, cultural and civilisational facts, turned into
modern poetry and a modern debate on the nature and meaning of poetry. Four Canons is an exceptional book, one of
the most important ones in Serbian poetry at the turn of the
century.

396

III

,

,

;

, ,
, ,
. ,
,
Imago ignota.1
, , ,
( ) ,
, , , , .
, , XX ,
,

, ,

(: 1997, III: 259-61).
1

399

/ .
/ () ()().
,
. :
(1.) , ,
, ; (2.) ;
(3.)

( 1967: 172). , (1..) , , ;
(.) , ( 1967: 1712).
, ,
.
. ,
, ,
. , ,
, , : , ( 1997, IV: 9). ,

, , [...]
400

 ,
,
( 1997, IV: 15).2
, ,
, , , , ,
? ,
, ? ,
,

? , ,
,
?
, , , , ?
,
.
/ XX
(1972),
, (1962).


2
,
, (
1994: 49; 1996: 168; 2003: 32-3).

401


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,
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,

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- , :
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402

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(, ,
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.
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403

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( 1991: 105-7).
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( 2002: 207).
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405

 .


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( 1995: 46).

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406

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1994: 49).
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407

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( 2004: 452).

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( 2004: 302) .
6

408

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.7
7
(1.) . (2.)
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, Hrodiade. , (3.) ,
; [...] :

409


. ,

.
. ,
;
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( 1980: 91).

, ,
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, , [...]
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( 2004: 624-8) .

410

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/
8

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,
: (6.) , ; (7.)
, ; (8.) , , , , : (2.)
, ( 1967: 171-2).


: ( . / .).

8
.
( 1994).

411

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/
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412


, :
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(
) ( 1997, IV: 104-5).

, , ,
, .
,
, , ( 1997: 116).
:
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( 1997: 115-6).

413

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414


, poiesis, , ,

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( 2004: 1043-5).

415

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,

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, , (1984)
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(Foucault 1984: 102).
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10
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416


.
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, .
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. , , , ,
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417

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,
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, :
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( 1984: 59).
, :
,
418

 ,
: .
credo
, .
,
, , :

, . [] ,
,
.
( ; [], ) (
ratio difficilis)
( 1995: 68).

( ) ,
, . .11
, je aj , ,
, Imago ignota:
11
Imago ignota, , ( 1997,
III: 261).

419

 ,
;
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,
, 6. 4.
( ).12
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, ,
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Omnium rerum finis / Erit vitiorum
abolitio .
: ,
, (
1997, III: 2601). 6. 4. : , / : ,
/ , / .

420

: , , Imago ignota;
13; ,
imago mundi nova14.

, ,
: ,
, .
,
: Imago ignota , , .
( );
, .
( , , ,
...). , :
.
,
. ( 1997, III: 260).
13

14
:
, , , , ,

. [...]
,
.
imago mundi nova,
,
; ,
( 1997, IV: 12).

421

 , .
, () ,
.
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( ,

, ).
; ,
. , , , , ,

(Derrida 1978: 12). , ,
, , ,
,
,
,
, . .15
15
, ,
. ,
-
.
.
(: 2004). ,
( 1994, 1997; 1996;
2003, 2003a),

422

 , ,
,

. , ,
, (, 2005: 42).
.
, (
)
. ,
, 16, , , ,

. , , ,
( 1992: 234).
,
; , ,
. .

, .
,
, :
/ /
/
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, .
, .
, , ,
( 2003), (
2005, 2005), .

16

423

 ,
: ( 1995: 45).

,
, .17


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( 1995: 52). , ,
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.
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17

424

 ( 1992: 234); ,

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

, ,
2004: , . . , . . , , .
,
2003:
. , . , . . , , , . 1-13.
2005: . , 20. ,
, , .
9-54.
2005: , ,
, ,
, . 9-16.

425

,
1984: , . . , , . 6, . 7-35.
Derrida, Jacques
1976: O gramatologiji, prev. Lj. ifler-Premec, Veselin
Maslea, Sarajevo.
1978: Writting and Diferance, trans. A. Bass, University
of Chicago Press, Chicago.
,
1995: , . . , ,
.
,
1994: ,
, .
1997: .
, . , I-IV, . .
, ,
.
,
1984: : , .
. , , . 6, . 49-68.
1991: .
, . . , , .
, .
1980: ,
, , .
1997: . , I-IV, . . ,
, .
,
1994: , , . 3/4, . 4850.

426

1996: , . . , . . , . . , , , . 69-95.
,
1997: , , , , , .
,
2005: , ,
. , . . , , , . 37-44.
,
2003: . , . , . . , , , . 53-65.
, .
2003: - . ,
. , . . ,
, , . 31-41.
,
1996: . , .
. , . . , , , .
153-187.

1967: ,
I, ,
.
, .
1984: : , .
. , , . 6, . 36-48.
,
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427

Foucault, Michel
1984: The Foucault Reader, ed. Paul Rabinow, Pantheon
Books, New York.
-,
2003: . , . , . .
, , , . 15-23.
2003: , , . XV,
. 69, . 184-191.
2004: .
. , , .

428

Aleksandar Bokovi
IN THE MENACING SIGN OF DECONSTRUCTION
Summary
In this text, the author tries to shed light on Lalis poetics and to show how and, in the final analysis, why in its essence there was a kind of programmatically intoned distancing, evasion, postponement and shifting of meaning itself.
Such a goal was imposed by Lalis poetry itself, first of all
the two poems of his that this text deals with A Note on
Poetics and Imago ignota. These poems, as well as the
poets note on them, contain a set of the basic characteristics
of Lalis poetry, such as the concepts of writing, communication, symbol, poetic image, trace, quotation and culture.
In view of the fact that, apart from Lali, these concepts
were simultaneously pondered by the philosophical and
theoretical thought about literature of the second half of the
20th century semiotics, hermeneutics and especially deconstruction the authors intention is to point out to what
extent and in what degree it is not possible to intone Ivan
V. Lalis discourse/writing on poetics differently from the
voices/writings of the thought of his time which can be applied to the reading of his poetics.

429

. ,
, ()
.1 ,

, .

,
. ,

.

/
,

.

.
, : , :
, , o, 1990, . 19.
1

431


: ,
.2. (...) ,3
(...) .4.

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( ),5
, . : , Requiem
, , ,
. ,
, : , : , ,
, .


, , .
. 2
, (
), , , 1995, . 17.
3

, . 24.

, . 38.

. , , :
, , ,
1994, . 148.
5

432

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. , : , , , ,
,
.

.
.

,
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:
/
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,
, Requiem

/ , , / .,
433

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,
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,
,
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.
Requiem
( , , )
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, .
434

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,
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, ,
:
, ,

, .
,
, ,
,7 .
- . ,
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/ (
), ,
, : . ,
, , 2003, . 104.
6

/ . . : , , , ,
1993, . 129.

435

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. , ,

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.


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436

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,
,

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.

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, , ,
Requiem .

: , , ,
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() .
437

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,
.
, , - .

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

,
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438


,
. . . ,
,
IV . , ,
. 8
,
, , ( )


, . ,
,
, ,

: / .

; ,

,
.
,
, /
, / /
?. , . . , , , 1978. .
45.
8

439

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. , ,
.

,


, :
,
, .9,
.
, (
)
.
, :
? , ,
: ,
/ . (
) ,
credo,

:
.

, , : , , , 2005, . 241.

440

 , ,
, , ,
,

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

. .
, ,
.

. , 441


, .

,
;
,
. , , , ,
, , :
.
,
, .10 ,
,

.

10
, . . , :
. , , , , 1996, . 62.

442

Mileta Aimovi Ivkov

THE FAMILY POEMS OF IVAN V. LALI
Summary
Proceeding from the premise that the group of texts we
have called Family Poems contains the essential elements
of Lalis poetics, this paper strives to recognise them and
describe them. The methodological orientation of this paper
was reliance on the content-related elements that served to
develop the majority of the poems in this thematic circle of
poems, pointing out their similarities and describing them
concisely, as well as detailing the specific features of activating them in each individual poem. The facts pertaining
to the indirect and direct expression of the authors poetic
views were also singled out and described. The paper concludes that a feeling of love, as the essential determinant of
the poetry and the poetics of Ivan V. Lali, forms an integral
part of the very thematic foundation of one segment of his
poetic opus, specially expressed and functionalised in these
poems, where a clearly sentimental (personal) tone is singled out as their differentiating characteristic.

443



.
( )

. ,
. , .
,

.

,
1. ,
,
,
2.
. .
, , :
, ,
,

. : . : . , . : , 1997, . 119.

, . 128.

445

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,
.
, ,
,
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, . , , ,
, , . , ,
,
.
, ,
. ,
, , , 4.
.

-.

:
3

, . 286.

, . 17.

446

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,
,
,
, 6.
(
, , ),
. ,
,
.
. . ,

7. ,
. , ,
,
8.

, , , ,
5

, . 52.

, . 95.

, . 177.

, . 219.

447

 ; 9. ,
,
10 , ,

11.
, 197512,
,
,
, :
,
;
,

9

, . 271.

10

, . 288.

11

, . 290.

12
1992. ,

(1984).
. -
:
, ,
, ,
, ,
( ). ,
,
,
(
. 19691996,
-, :
/ / , 2007, .
131).

448

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1992.
,
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,
, 14.
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, .
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.

, ,
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. , . : , 1997.
13

. : . : . , . : , 1997, . 280.

14

449

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.15
.

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:

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15
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, ( : . :
, 1994, . 189).

450


:16
, , .
, .
, .17
.
:

:

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, .
16

,
,
( : . : . , . : , 1996, . 131). ,
,
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, , (. 129).
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,

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: ?. : . :
, 1990, . 25).
,
(. 25).
17

451

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452

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453

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, , ,
20.

,

, , ,
.
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, :
:

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, .
, :
: , 1994, . 145.
20
. : . . : . , 1,
. : , 1997, . 14.

454

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.


(
).
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455

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456

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, .

457

Bojan olak
ON SOME POETIC ELEMENTS OF IVAN V. LALI
(Analysis of the poem In Praise of Insomnia)
Summary
Analysing the poem In Praise of Insomnia from the
collection Letter (1992), the author attempts to perceive the
poetic elements of Ivan V. Lali. The poem In Praise of
Insomnia points to the importance of the irrational experience when it comes to the creative act. Insomnia provides
the opportunity for seeing the invisible, for expressing the
inexpressible, finally, for a different experience of reality. It
is a path to the other side, not with awareness of the past and
of transience but with awareness of the future. The paper
also points out the importance of the poets essayistic work
for the understanding of his poetic thought.

458

1. .
.
, , ,

. :
( : ) , .

( )
( 1995: 18-19).

: , ,
( 1992: 92).
, , ,
,
. , ,

459

 , ,
, ,

.
, ,
20. , :
:
,
,
(- 1996: 16). , ,
: . ,
,
( 1996: 55).
,
.
(-
2003: 74).
.

,
460

, : , , ,
, ,
. ,
. , ,
( 1997: 90).
.
:
( ) : , , , ,
, , ,
, , , , , , , , , , , , , , .

, , ,
,
, ,
,
,
( 1997: 77).


461

.
, .

20. ,
, .
, ,
.1

, , , ,
, .
.2
,
(
. . .) (...) , , ,
( 1997: 96).

,
, ( )
, ( 1997: 65).
,
: , ,
,
.

( 1996: 40).

462

, ,
.3
.4

- : ( )


- ,
( 1995: 27).

, .5
, ( 1996: 23).

.
,
,
. (...) , ,

( 2003: 93-94).
4

, , .
(
, ),
.
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. 5

463

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,
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,
, .7
,
.



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.
( 1996: 43).
,
:
( 1996: 138).

.
.

, ( 1997:
94).
6

7

, ,
( 1996: 49).

464

 ...
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: , ... ( 1995: 24-25).
2. , , 20. ,

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465

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, (
38, 68 .).
3.1.

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,

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466


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( 1997: 94),

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(, ,
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467

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8
, ( 1959-2007 1967-1976) .
.

468

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), : 63,
83, 8, 23, 63, 58,
60, 23, 40, 22,
16, 38, 14, 29...
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14;
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:

469

: , 16;
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18;
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22;
: , termine fisso deterno
consiglio 28;
: , 34;
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50;
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52;
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58;
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470

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42;
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,
, :
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70;
) 82.
( 1997:
10).
10
,

, ( 1997: 93).
, ,
.

471

3.3.
,
.

, :
11: 47
12: , / ,
75
4. ,

,
,
.
4.1.
-, . 11
1959-2007 .(), : , , , -. 90- 20. , ,

( , .).

1967-1976, - 1958. .
12

472

 : .
23 ( 8, 9, 11, 13, 24, 30, 33, 38,
40, 41, 47, 48, 51, 54, 56, 60, 62, 70, 73, 76, 77, 79,
82). , 11
(. 7, 8, 9, 21, 38, 48, 50, 51, 57, 62, 73)
: ,

, , - ( 1997:
68-69).

-: (60, 61,
76, 79, 82, 83), - (27, 33,
34, 55) (24, 43, 44, 74), -
(20, 59), (48, 68), (75, 76) (58, 62). : 51, 58, 62,
84, 59, 77,
51, 71, 38, 58, 27, 28, 55, 27, 80, 71,
68, 7, 52, 82,
28.
, , , ,
,
:
) 27, 33, 34, 55 : 27
) 52 : 28 / 62
473

) 38 : 58

: , (
, ,
),
, , ( 1996:
12).13
4.2. -,
-: 28, 48,
49, 49, 50, 55, 58. ,
,

:
59, 71, 77 : 59, 71,
73, 76
4.3.

( )
-,
,
.
1990 1999.
13

474

 , -.
, , - -
(
, .
: )14:
) , , /
/ , /
20;
)
// , 58.15
, . -, ( .
) (. 57, 61, 70, 78),
: 75,
23, 29, 22, 61,
57.

: 33,
84, 34, 39, 57,
57, 57, 70, 73, -

14
,
:
( 1992: 150, 155).

15

475

 76, 78, 80,

83, 84.
5. ,
. ,
, ,
(Nomina atributi, Nomina agentis),
:
a) -: 7, 47, 13, 70, 2816,
35, 36, 36, 43,
54, 57, 59, 61,
62, 67, 70, 76,
76, 79;
) -: 7, 11, 28, 29,
38, 56, 47, 50, 72, 78, 52, 58, 61, 71,
71, 75;
) -: 9, 15, 28, 36,
41, 80, 42, 58, 50,
62, 75;
) -: 32, 33;
) -: 17, 33, 35, 36,
76, 80, 82;
) -: 80;
) -: 67;
) -: 72;

.

16

476

) -: 38, 21, 58, 62;

) -: 21, 50,
75.

-,
.
( ),
:
, / 21.
, ,
.
-
,
.

( 82, 21...) ( 8, 11, 21,
29, 43, 54,
54, 59, 62, 67...)
. , ,
, . .
.

477


1970: ,
, , .
1991: ,
, .
1996: , ,
. , , , 33-43.
- 1996: -, , , . , , ,
15-17.
- 2003: -,
. , . , , 71-83.
1997: , , . , ,
, 92-95.
1997: , , . , ,
, 96-102.
2003: ,
. , . , , 91-95.
1992:
, ,
.
1998: ,
, .
1995: ,
. , .

478

 1997: , .
, .
, , , , 1997.
1996: , ,
. , , , 21-25.
1996: . ,
, . , , , 7-13.
1990: , , .
1999: , ,
.
2002: ,
, , L, . 1-2, 333-339.
1996: , , . , , , 55-58.
1997: , ,
. , ,
, 87-91.
1996: ,
, . , , , 137-150.
1967-1976: , .
1959-2007: , .
1992: ,
,
.
1990: ,
, .
1996: ,
, . , , , 45-53.

479

Aleksandar Milanovi
THE LEXICAL STRUCTURE OF IVAN V. LALIS
FOUR CANONS
Summary
This paper, following an overview of the research into
the lexis of Four Canons conducted so far, analyses the
importance and the functions of stylistically marked lexis
(archaisms, dialecticisms, colloquialisms, occasionalisms),
abstract nouns and nouns having the meaning of persons
(nomina atributi, nomina agentis). It concludes that, irrespective of the chosen form of the canon, Ivan V. Lali is
not prone to archaicising his language, be it on the lexical
or on the formative level. It especially points out the lexical abundance of nouns having the meaning of persons and
their formative diversity.

480

IV

, ,
. .
, - .

,
The Works of Love1.
2, .
20. .
, .
, , 1955,
,

1

London: Anvil, 1981.

Last Quarter: Poems from The Passionate Measure, London:

Anvil/Turret, 1985; The Passionate Measure, London/Dublin:
Anvil/Dedalus, 1989; A Rusty Needle, Anvil, 1996; Fading
Contact, Anvil, 1997.

483

, .

,
(3), (
4) (5). :
, ,
,
?
(.

).
. ,
6.
,
.
, , --
The cut, Poetry World 1: 8-32, 1986.; Collected Poems, prev.
Anne Pennington i Francis R. Jones, Anvil, 1997.

Stone Sleeper, : ,
1999.

Sonnets, : Buybook, .

(.)
,
. ,
, , ,
.
6

484

(.) ,
,
7.
.
: , .
, , , .
, , .
.

,
, :



,
. :
: , ,
, .

:
(.
, ,
.), (.
), , Modern Poetry in Translation New
Series/22: 61-69, 2003; Mak Dizdar, Scar on the Stone:
Contemporary Poetry from Bosnia, ur. Chris Agee, Newcastle:
Bloodaxe, 1998; Anvil namerava izdati integralni prevod Kamenog
spavaa 2008.

485

 (.
)8. ,
.

:
?

, , .

. ,

?

( , )
. :

. . ,
,
. ,
, , .
Wolfgang Lrscheru, A psycholinguistic analysis
of translation processes, Meta XLI/1: 26-32 (http://www.erudit.
org/revue/meta/1996/v41/n1/index.html), 1996. (strategies),
i Peter Fawcettu, Translation and Language, Manchester: St.
Jerome, 1997. (techniques).

486

 , ().
, .
, ,
, ,
, :
Birthlike into the cavern, the other half of me
snells,
spuming black into barren cursed unmothers of
wells.
( ,

)
birthlike, snells unmothers;
Onofrio :
Pigeon-down the colour of clouds on the south
wind
In the dance of my droplets.
(
)
abusive
fidelity resistancy ( ,
487

), ,

9. ; ,

10.
11. ,

. ,
,
, 12 . , ,
.


, .
: Lawrence Venuti, The Translators Invisibility: A History of
Translation, London: Routledge, 1995, 23-24.

10

Venuti, 1-11.

Npr. Gillian Lane-Mercier, Translating the untranslatable: the

translators aesthetic, ideological and political responsibility,
Target 9/1: 43-68, 1997: 61.
11

. , , 1986, , : , 1990, 103-106.

12

488


?
(), -
. , -
. :
,
?
, ( 1980-
) ,
. ,
.
,
. , .

,
,
.
: ,
.


. , . :
489

That is the/that sea, that big sea,

That ponderous/bulky/unwieldy/lumbering/
cumbersome/massive blue notched/scalloped/
jagged/cut-out/carved with foam
:
, ,

,
.
:
That is the sea, the big sea,
That ponderous blue scalloped with spray
, scalloped-spray - .

,
:
?
, ,
490

 .
,
:
Where will you go? The passageways are tight

, .

? .
, , (
).
, .
( , , , , , , .)
(
), :
1. , :
( ): . wind.

,
: . teeming [].

2. , :

491

 : . sensed the
moment [ ]

: . ,
He leans [ ].

: will stay
outside in the wind [ ].

( 1), : 2 <0.69.
1. -
( )

- - - -

Wind
Requiem za majku
Requiem for a mother

83
173
256
93%1

()

Introduction
159
to maritime law

Young love (
44
)
203

94%

269

5
8
13
5%

1
1
2
1%

97%

213
99%

0
5
5
2%

2
4
6
2%

3%
8

10
5%

0
0%

2
1%

5
2%

2
1%

,
.

492

(98% . 99%), (93% . 94% ). ,

.

, , , . , , 1 () 93 3 ()
103 2 () 198 13.
.
,

.

, .
:

,
?
2, 1,
, . .
Francis R. Jones, Unlocking the black box: researching poetry
translation processes, Translation and Creativity: Perspectives on
Creative Writing and Translation Studies, ur. Manuela Perteghella
i Eugenia Loffredo, London: Continuum, 2006, 59-74.

13

493

 2. -
(, )

- - -

93%

()
94%


How Orpheus
sang
Ophelia

5%

1%

97%

2%

2%

1%

2%

3%
5%

0%

59

20

23

111
170
61%

30
50
18%

4
8
3%

41
50
18%

34
57
21%

99%

220
79%

1%

58

21%

,

(2 <0.0001). 98-99% 79%. 93-94% 61% ,

5% 18%. , :
9
10
11
12

494

, ,
Inquisitive raindrops sometimes spill
.
Into each sky-blue, wide-open eye,
, ;
And trickle from her lids until
, , .
A drifting cloud sponges them dry.

 (. 10) spill
( : . 9) spill-until,
raindrops ( )
(raindrops sometimes spill).
1-3%
21%. (18%), (21%). ,
(. 12),
drifting () dry ().

. ,
,

.
sponges (
, ).
, 11
, (
) .
14
. ,
, . ,
. ,
,
.
/-ai/ , , :
Implication i explicitation: Fawcett, Translation and Language; Kinga Klaudy, Explicitation, u Routledge Encyclopaedia
of Translation Studies, ur. Mona Baker London: Routledge, 1998,
80-84.

14

495

(. eyes) each [] eye (. 10)

12.
, .
(: . 22)
lashes (:
. 24):
21
22
23
24

This is sensed by the shrieking crows,
, ;
The hollow reeds, and frosts first ashes

Along the banks; is known to the snows,
.
The early flakes impaled on her lashes.

,
ashes .
. ,
,

.
,
.
(3%). ,
,
496

. ,

, .
, .
,

, 7 :
(6
The beasts of the field and forest scarcely sensed)15
7
The moment their blood congealed to mead. []
the moment ( [])
;
mead ()
.
,

,
,
, , ( 3).
, , , - of the field and forest (
).
15

497

 3. , ,

: . -
, - . , ,

, , ,
.

, .
, .

The Works of Love (1981.) , , , , , .

(. ),

498

 ,
.
. , ,
,

70- 80- .
. , 90- , ,
( )
.
, ,
.
, . ,
,
.

,
.
, .

,
.

3 ,
499

 .
, ,
. ,
. ,

. ,
, .

1981.
.
,
, :
1998
, 20 .
, ,

.
70-
80- . , ,
,
,
:
In this worlde I lived long
My yeres in this worlde were eight and four
score
500

In house muche rychesse I layed in store

Ne gan I ne moment reste ne feasted I ne
frende ne geste
(Na svijetu ovom dugo ja ih
Bih osamdeset i osam ljeta na sijemu svijetu
U svoj dom mnoga blaga spremih i skrih
Ne asih ne asa namjernika ne astoh ne
pogostih gosta)
(Text about a leaving / )

16,


.

: .
,
: .
, /: ,
, . , : Buybook, 2004,
219-239.

16

501


,
. ,


, , ,
. ,
.
,
.
, .
. ,
:
You are sliding to me down
the generations.
( 4) You are slipping
from my knees.
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Text world: Peter Stockwell, Cognitive Poetics: An
Introduction, London: Routledge, 2002, 136-141.

17

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Ted Hughes,
70- 18.

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. Stone Sleeper

Jerzy Jarniewicz, After Babel: translation and mistranslation
in contemporary British poetry, European Journal of English
Studies 6/1: 87-104, 2002.

18

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Francis Jones
IVAN V. LALI AND THE GREAT YUGOSLAV
GENERATION: TRANSLATION AND RECEPTION
Summary
In this paper I compare my experiences as a translator
of Lalis poetry with those of translating other poets of the
Great generation of Yugoslav poetry of the second half
of the 20th century (Vasko Popa, Mak Dizdar and Skender
Kulenovi). My first aim in doing so is to establish a framework for comparing the translations and the reception of
individual poets from the same linguistic, cultural and historical-political area. The second aim was to establish the
specific features of the process of translating Lalis poetry,
the reception of his poetry among publishers and readers in
Great Britain, caused by his Mediterranean orientation and
philosophical subtleties.

506


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507

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.

1800 ,
.

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(/ : ,
1976); , .
: The Belle of Amherst A Play Based on
the Life of Emily Dickinson by William Luce (Houghton Mifflin
Company, Boston,1976).

508


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2

509

[ I heard a fly buzz when I died;

The stillness in the room
Was like the stillness in the air
Between the heaves of storm.
The eyes around had wrung them dry,
And breaths were gathering firm
For that last onset, when the King
Be witnessed in the room.
I willed my keepsakes, signed away
What portion of me be
Assignable - and then it was
There interposed a fly,
With blue, uncertain, stumbling buzz,
Between the light and me,
And then the windows failed, and then
I could not see to see.3]
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(last on set)
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(Me - come! My dazzled face),
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(mood),
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4

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, 2005 2008).

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.
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(That oppresses, like the weight / Of cathedral
tunes).
, ,
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(
).
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9,

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, . 77.

Emily Dickinsons Herbaroium, Hardcover edition, 400 pressed

flowers, 68 color illustrations, Cambridge: Harvard: Belkap Press,
2006. 208 pages.

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107.
9

518

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feather). ,
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519

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, : I dwell in Possibility / A fairer House
than Prose.
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, . 33.

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possibility/
.
(spiritul asscent) ,
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(Theres a certain slant of light)
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12

524

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), , : Theres
a certain slaint of light / On winter afternoons / That
oppresses, like the weight / Of cathedral tunes.

,
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525

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526

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527

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14
. . 1969-1996, -, , , , , 2007, . 64.

528

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, .

:
(on the interior glance),

.

529

Vladimir Petri
IVAN & EMILI:
LOVE ON THE INTERIOR GLANCE
Summary
The author chronicles the collaboration between him,
Dara alreni (actress and his wife), and Ivan V. Lali during the translation and theatrical realization of the monodrama The Belle of Amherst by William Luce, in Belgrade,
1948. After completing his poetic transposition (as Petric
calls it) of Emilys verses (the prose text was translated by
Lalis wife, Branka), Ivan continued to transpose other
Emilys verses, some of which are published at the end of
the Serbian translation of Luces book (Vilijem Ljus, Ivan
V. Lali & Branka Lali, Lepotica Amhersta - pozorini
komad napisan na osnovu ivota Emili Dikinson, i pesme
Emili Dikinson).
Comparing Ivans poetic transpositions with Emilys
originals, Petric posits that their thematic connotation, as
well as the formal structure are alike, containing similar
world views, aesthetic attitudes, and formal approaches, including accidental rhyming. He compares Lalis poetic
transpositions of Dickinsons poems with the way great
musicians transpose scores of other composers, especially
those they respect and admire. Being her poetic brother
Lali produced some of the finest poetic transpositions of
the foreign poetry into Serbian language. Petrics final sentence reads as follows: Love between Ivan and Emily happened on the interior glance, that establishedan an unbreakable link between the two poetic souls.

530

, 389
, (Adam, Paul) 237
, (Adorno, Theodor Wiesengrund) 365,
389
, (Einstein, Albert) 345, 346
, (Aleksander, Ronelle) 60, 88
, 334
, (Aragon, Louis) 319
, (Francesco dAssisi) 293, 294, 308
, 14, 431-443
, 226
, . . (Bowersock, G.W.) 239
() 224
, (Balzac, Honor de) 389
, (, ) 59
, 389
, (Barthes, Roland) 324, 325, 330, 344
, (Bartok, Bella) 350
, (Bass, Alan) 426
, (, ) 64
, (Bek, Hans-Georg) 234
, 350
, (, ) 59, 60, 88
, (Benn, Gottfried) 149, 154, 348, 421
, (,
) 389
, (Beethoven, Ludwig van) 350
, 30, 342
, (,
) 59, 348
, (Bloch, Ernst) 348, 356, 358, 361, 362, 365

531

, 234, 385, 462, 466, 478

, (Baudelaire, Charles) 59, 88, 274, 319, 327329, 333-336, 339, 341, 342, 426
, (Baudrillard, Jean) 261
, 462, 464, 478
, 427
, 20, 139, 154, 155, 200, 250, 323
, (Bosquet, Alain) 319
, 14, 399-429
, (Bradford, Curtis) 245
, 435
, 125
, (Browning, Robert) 274
, (Breton, Andr) 319
, (, ) 59
, (, ) 389
, (Buber, Martin) 388
, 389
, 319
, (Bucher, Martin) 243
, (Wagner, Richard) 349
, (Vasari, Giorgio) 290, 291
, (Wilde, Oscar) 389
, (Vlry, Paul) 32, 57, 134, 139, 149, 154, 156,
160, 285, 320-325, 330, 341, 344, 348, 374, 375, 389
, (Walcott, Derek) 389
386
-, 74, 81, 87, 88, 158, 281, 282,
285, 310, 311, 460, 478
, (Venuti, Lawrence) 488
, (Vergilius, Publius Maro) 215,
217, 226-228, 230, 277
, 95
, (,
) 61

532

, (Vietta, Silvio) 98
, (Williams, William Carlos) 60,
65, 90
, 342
, 320, 323, 338
, (Whitman, Walt) 339
, 269
, (Vulpius, Christaine) 119
, - (Voltaire, Franois-Marie
Arouet) 235, 236, 389
, (Wordsworth, William) 77
, 162
, 57
, 464, 467, 471, 478
, 23, 50
, (Gall, Sally) 60, 61, 90
, (Gheerbrant, Alain) 408, 410, 415, 416,
425
, (Gethe, Johann Wolfgang von)
119, 347, 365, 389
, (Gibbon, Edward) 236, 240
, 303
, (Golding, Louis) 386
, 426
, 389, 393
, (Greiter, Alois) 358
, (Grousset, Ren) 320
, (Gourmont, Rmy de) 320, 335-337, 344
, (Da Vinci, Leonardo) 322
, 46, 122, 202, 253, 284, 288, 289, 463
, 368, 389
, (Dante, Alighieri) 12, 44, 77, 270, 271,
273-278, 301, 386
, (DAnnunzio, Gabriele) 285

533

, (, ) 66, 67, 68, 89

, (De Medici, Lorenzo) 269
, (De Soussire, Ferdinand) 412
, 29, 35
, (Descartes, Ren) 162, 189, 190
, , 14, 19-58, 95, 154, 272, 273, 277, 289, 314,
423, 425, 462, 478
, 135, 136
, (Derrida, Jacques) 401-403, 412, 416-418,
422-427
, (Diderot, Denis) 127
, 484-486, 488, 500, 501, 503, 504, 506
, (Dickinson, Emily) 507-509, 511-530
, (Dierx, Lon) 342
, (Donn, John) 77
, 23, 53, 54, 61, 77, 80, 89, 121, 136, 203, 250,
269, 320, 323, 338, 340, 389, 423, 459, 465
, 154
-Ellermayer, 61
, (Jouve, Jean Pierre) 44, 319, 339
, (Eco, Umberto) 256, 261, 406, 419, 423-426
, (luard, Paul) 319
, (Eliot, Thomas Sterns) 12, 51, 52-54,
56, 57, 95, 103, 122, 133, 330, 339-341, 343, 344, 349351, 369, 388, 439, 447
, 81
, 463, 478
, 114, 131, 187, 372, 459
, (Ibler, Reinhard) 61, 68, 89
, 478
, (Eagleton, Terry) 389

534

, 13, 20, 36-39, 53, 55, 94, 201, 209, 225,

226, 230, 335, 336, 386,
446, 459, 465, 470
, (, ) 389, 390, 393
, 61
, 167
, (Jarniewicz, Jerzy) 504
, 80
, 14, 109-132
, (Yeats, William Butler) 231, 236,
244-251, 255, 256, 259, 263
, 14, 419
45, 46
, 14, 15, 19, 57, 74, 85, 88, 89, 94,
101, 104, 110, 117, 138, 139, 145, 147-149, 162, 187,
203, 206, 251-253, 266, 271, 283, 284, 288, 302, 303,
305-308, 312, 314, 336, 337, 346, 348, 354, 370, 378,
379, 383-396, 411, 422, 426, 432, 445, 449, 450, 453,
454, 459, 461-465, 467, 471, 473, 478, 479
, 235
, 80
, 61
, 14, 231-263
239, 242, 243
231, 279, 280
, (, .) 57,
133, 134, 160, 231, 238-244, 246, 250, 251, 263, 370
, (Caillois, Roger) 342
, (Culler, Jonathan) 404, 418, 426
, (Camus, Albert) 389
, (Carducci, Giosu) 270
, 345
, (Kiefer, Jens) 93
, 488

535

, (Kierkegaard, Sren) 347, 348, 359, 365

, (Klaudy, King) 495
, 235
, 322
, 240
232
, 389
, 425
, 13, 20, 54, 80, 101, 202, 284, 288, 289, 314,
315, 340, 470
, 341, 342, 446
, (Kristeva, Julia) 420
, 463, 479
, 426
, 33, 34, 39, 40, 484-488, 493, 500,
502, 504, 506
, (Curtius, Ernst Robert) 226, 339
, (Lavagnini, Renata) 239
- , 14, 95, 151, 265-317
, (Lacan, Jacques-Marie-mile) 405
, 346, 508, 511, 517, 524, 530
-, (Lane-Mercier, Gillian) 488
-, (Lvi-Strauss, Claude) 42
, (Lejeune, Claire) 320, 333, 344
, (Lecky, William) 236
, (Lemaitre, Jules Franois Elie) 337
, (Leopardi, Giacomo) 274
, (Le Roux, Hugues) 237
, (Lessing, Carl Friedrich) 106
, 28, 31, 33
, - (Lefebve, Maurice-Jean) 320, 331,
344
, (Liszt, Franz) 285
, (Lombard, Jean) 237

536

, (, ) 216, 217
, (Lucanus, Marcus Annaeus) 217, 218,
219
, 333
, (Lrscheru, Wolfgang) 486
, (, ) 65, 66, 89
, (Luce, William) 507, 508, 511, 515, 517,
518, 520, 524, 526, 530
, (Meyendorff, John) 385
, (Mayer, Hans) 345, 348, 359, 365
386
, 22-24, 28-30, 40, 324
, (Mallarm, Stphane) 13, 321, 336, 409,
471
, (Malinowski, Bronislaw) 42
, (nn, Thomas) 152
, (, )
80, 89
, 26
, 201
, 522
, 215
, 48
, (Mustard, Helen) 67, 68, 89
, 139
, 501
, (Michelangelo, Ludovico di
Leonardo di Buonarotto Simoni) 105-107
, 57, 80, 81, 83, 84, 89, 95, 118, 143, 284,
296, 297, 300, 302, 303, 357, 401, 407, 422, 426, 431,
451, 474, 479
, 14, 459-480
, 379

537

-, (Mller-Zettelman, Eva) 93
, . 345
, 413, 427, 428
, (Czesaw Miosz) 327
, 255
, 103, 162, 250, 269, 368
, - (Migne, Jacques-Paul) 243
, 466
, 268
, 460, 479
, 340
, 25, 31, 32, 42, 49, 54, 73, 150, 151, 333,
369
, 416, 423, 427
, 358, 360
, (Montale, Eugenio) 272-275, 277, 278
, (Montherlant, Henri de) 388
, (Montesquieu, Charles) 236
, (Mozart, Wolfgang Amadeus)
345-347, 353-365
, 426
, 269
, 61, 349, 388
, 14, 161-192
, 189
, (Neruda, Pablo) 319
, 14, 135, 157, 158
, 410
, 410
, (Nietzsche, Fridrich) 388
, 14, 97, 319-344, 360, 405, 427
, (Novalis, Friedrichs
von Herdenberg) 348, 405
, 45
, (Nouveau, Germain) 342

538

, 80
, (, ) 235
, (Ovidius, Naso Publius) 292
(rigns) 386, 407, 415, 420, 425
, (Austin, John) 401, 417, 418, 426
, 35-39, 45, 51
, 451
, 20, 26, 27, 43, 164, 250, 353, 368,
447
, 118, 135, 151, 267, 270, 295, 296,
316, 425, 427, 428
, (Palgyi, Tivadar) 236
, 462
, 235
, 114, 131, 187, 372, 442, 459, 478
, 240
, 14, 193-212
, 410, 426
, (Pascoli, Giovanni Placido Agostino)
270
, (Patoka, Jan) 389
, (Pound, Ezra Weston Loomis) 60, 152
, (Pennington, Anne) 500
, (Pert, Benjamin) 319
, - (Perse, Saint John) 319
, 14, 215-230
, Dis 101, 225, 351, 353, 386, 471
, 15, 80, 81, 90, 349, 351, 387, 461, 479
, 262
, (Petrarca, Francesko) 61, 77, 270,
386
, 507-530
, 14, 59-92, 423
, 368

539

, 299
, 14, 345-365
, 54, 341, 374, 388
, (Picard, Raymond) 320, 325, 326, 330, 332,
334, 344, 388
, (Pilatus, Pontius) 147, 148
() 215, 220-224, 229, 272, 319
() 216, 224, 225, 231, 261, 410
() 231, 410
, (Poe, Edgar Allan) 348
, (Ponte, Lorenzo Da) 345
, 14, 15, 25, 26, 31-33, 50-52, 59-61, 68-70, 7276, 79, 90, 91, 250, 350, 368, 412, 445, 447, 484, 486,
488, 500, 502, 504, 506
, (Popper, Karl) 386
, 20, 30
, . 401, 427
, 20, 54, 55, 121, 273
, 401, 427
, (Praz, Mario) 237, 238
, (Proust, Marcel) 322
, (Poulet, Georges) 320
, (Pulci, Luigi) 269
, (Rabinow, Paul) 428
, 30
, 162, 368
, 272, 464, 479
, 45, 54, 368
, 135, 284, 285, 314
, 203, 210, 250, 269
, (Rimbaud, Jean Arthur) 97, 98, 100,
101, 340, 342
, (Rilke, Rainer Maria) 12, 36, 40, 48,
77, 119, 134, 156, 157, 272, 285, 323, 329, 348, 386
, . . (Rosethal, M. G.) 60, 61, 90

540

, (Royce, Sir Frederick Henry) 388

, (Romano, Giulio) 291
, (Ronsard, Pierre de) 77
, (Rorty, Richard) 423, 425
, (Rubik, Margarete ) 93
, (, ) 386
, (Rousset, Jean) 348, 360
, . . 239
, (Sapegno, Natalino) 276
, - (Sartre, Jean-Paul) 327-330, 344, 389
, (Seidin, Irving) 248
, 425
, 340
, (Serafino, Aquliano) 269
, . (Searl, John) 417, 418, 427
, (Silverberg, Robert) 231, 255, 256,
258-260
386
, (Simic, Charles) 73, 74, 81, 90, 155, 156,
251, 346, 448, 528
, 45, 126, 252, 314, 368
, (Cioran, Emil) 389
, . (Cirasa, Robert J.) 60, 89
, (, ) 59
, (Steiner, George) 331, 332, 334, 344
, 508
, 426
, 342
-, 62, 90
, 352
, 475, 479
, 265, 270, 278, 293, 294, 307, 308, 387
-, 14, 93-108
, (Stockwell, Peter) 503

541

, 347
, 389
, - (Tadi, Jean-Yves) 339
, 80, 224
, 404, 427
, 190
, (Gaius Cornellus Tacitus) 44, 215,
217-219, 229, 236
, (Twen, Mark) 285
(Quintus Septimius Florens Tertullianus) 386
, 62
, 149
, (, i ) 65
, 346
, 385, 466, 479
, 30, 104, 105, 342
, 142, 302
, (, ) 233
, (Ferarri, Severino) 270
, (Fiorentino, Italo) 237
, (Forman, Milo) 346
, (Fawcettu, Peter) 486, 495
, (Fray, Nortrop) 389
, (Friedrich, Hugo) 350, 379
, (Freud, Sigmund) 44
, (Foucault, Michel) 416, 428
, (Heisenberg, Werner) 389
, (Heim, Georg) 98-101
, (Hamvas, Bla) 388
, 14, 126, 149, 288, 367-382, 427, 464,
479
, (Haas, Diana) 240

542

, (Hlderlin, Friedrich) 12, 13, 47, 49,

272, 319, 340, 386, 392, 435, 442
, .. (Henn, T.R.) 246
() 215, 229
() 223
, (Hildesheimer, Wolfgang) 346
, (Hhn, Peter), 93-95, 99
, (Hughes, Ted) 504
, (Hodel, Robert) 61
, (Huizinga, Johan) 389
, (Hawkesworth, Celia) 136, 137
(Horatius, Quintus Flaccus) 358
, (Horkheimer, Max) 389
, 19, 20, 29, 32, 53-57, 133, 134, 137, 149,
159, 164, 209, 250, 251, 341, 360, 367-380, 382, 389,
440
, 113
, a 303
, (Celan, Paul) 386
, 30, 123, 286, 342
, 507, 508, 510, 511, 515, 516, 522, 527-530
, 426
, (Cecchi, Emilio) 324
, 445-458
, 267
, . (Jeffares, Norman A.) 245
, (Jones, Francis R.) 14, 136, 137, 483-506
, 189
, 269
-, 14, 64, 81, 90, 95,
133-160, 174, 180, 252, 266, 270, 387, 422, 428, 448,
528

543

, (Chevallier, Raymond) 408, 410, 415,

416, 425
, (Shakespeare, William) 77
, (Shelley, Percy Bysshe) 339
, (Schnert, Jorg) 94
, (Shipman, Harry) 167
-, 426
, (Spengler, Oswald) 389, 394
, (Schpies, Johan) 360
, (Strau, Johann) 285

544

, 2

, 43
*


.
*

600
*

,
ISBN

CIP
,
821.163.41.09- 1 . . (082)
M
. : / [
] .
: :
, 2007 (: ).
544 .: . . ; 19 cm. (
. ; . 8)
600. . 11-15: /
.
.
Summaries. .
ISBN 978-86-7095-134-1
1. , [] [
]
) , . (1931-1996)

COBISS.SR-ID 145416716

SEDAM LIRSKIH KRUGOVA

MOM^ILA NASTASIJEVI]A

POEZIJA I POETIKA
BRANKA MIQKOVI]A