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Bahtin PDF
Bahtin PDF
821.161.1.09 Bahtin M. M.
Zorica Beanovi-Nikoli
1 Ronald Knowles, editor, Shakespeare and Carnival, After Bakhtin, Macmillan, London
1998.
266
2 Michael D. Bristol, Carnival and Theater, Plebeian Culture and the Structure of Autho-
rity in Renaissance England, Methuen, New York and London 1985.
3 Graham Holderness, Shakespeare's History, Dublin 1985, str. 82101; Shakespeare
Recycled: The Making of Historical Drama, Hemel Hempstead, 1992, str. 11057; Graham Hol-
derness, ed., Shakespeares History Plays: Richard II to Henry V, New Casebooks, Macmillan,
London 1992, str. 151164.
4 Northrop Frye, [The Argument of Comedy], u: Leonard F. Dean, ed, Shakespeare: Modern
Esaays in Criticism, New York 1957; Anatomija kritike, prevela Giga Graan, Naprijed, Zagreb
1979 (Anatomy of Criticism, Princeton University Press, Princeton, W 1957); C. L. Barber, Shake-
speare's Festive Comedy, Princeton University Press, Princeton, W 1959.
267
Falstaff: Have you any levers to lift me up again, being down? 'Sblood, I'll
not bear my own flesh so far afoot again for all the coin in your father's exche-
quer. (1HIV, II, ii, 3436)
Falstaf: Idem ispred tebe kao krmaa koja je prigwavila svu svoju
prasad osim jednog sisaneta. Ako te je princ stavio u moju slubu iz ika-
kvog drugog razloga sem da istakne moju krupnou, onda ja nemam moi ra-
suivawa. Prokleta mandragoro, zgodniji si da te nosim u svojoj kapi nego
da me u stopu prati. Nikad dosad nisam imao ahat za paa (2H, , ii,
CD, Kwiga peta, str. 209210)
Falstaff: I do here walk before thee like a sow that hath overwhelmed all
her litter but one. If the Prince put thee in my service for any other reason than
to set me off, why then I have no judgement. Thou whoreson mandrake, thou art
fitter to be worn in my cap than to wait at my heels. I was never manned with an
agate till now. (2HIV, I, ii, 916)9
la on kae Nitkovi, mladi qudi moraju da ive." (1H, , ii, 86; CD,
Kwiga peta, str. 125); kada u Drugom delu razgovara sa Vrhovnim sudi-
jom, koji je otprilike wegovih godina, on izgovara: Vi koji ste stari
ne uzimate u obzir sposobnosti nas mladih; vi merite vrelinu nae je-
tre gorinom vae ui. Dodue, moram priznati da smo mi, koji smo
u cvetu mladosti, vragolaste lole." (2H, , ii, 174176; CD, Kwiga
peta, str. 212). To su paradoksi karnevala. Smrt i ivot, starost i
mladost postoje u istoj figuri. Bahtin govori o spoju oba pola promene
u grotesci koja otelovquje preobraaj: u woj su, u ovom ili onom obli-
ku, data (ili naznaena) oba pola promene i staro i novo, i ono to
umire i ono to se raa, i poetak i kraj metamorfoze."10
Prvi i Drugi deo Henrija sadre veoma otre i nerazreive
protivrenosti, koje ne samo da nisu izravnate i uravnoteene, nego
upravo otelovquju konfrontaciju plebejskog i zvaninog diskursa. Po-
sledwe suoavawe Falstafa i Hala, sada ve Henrija , predstavqa, po
Holdernesu, jukstapoziciju torestvenog dravnog i crkvenog rituala
i groteskne antimaske. Ona se nalazi na kraju suprotnom od uzviene
sveanosti, a prema velikoj ceremoniji odnosi se parodijski. Falstaf
u toj sceni pokuava da obnovi karnevalsku slobodu u kojoj je prestolo-
naslednika oslovqavao sa 'sweet boy'. Time se remeti formalnost ritu-
ala. Dramatizuje samoga sebe u ulozi dvoranina koji laska kraqu, jer vr-
lo samosvesno osmiqava svoj nastup, koji je, inae, uslovqen okolno-
stima. Holdernes insistira na toj Falstafovoj samosvesti i samore-
fleksiji, na tome da on opet samo igra jednu od svojih karnevalskih
uloga, ime se izbegava ona otuna sentimentalnost autora koji Fal-
stafa u sceni odbacivawa saaqevaju.
Falstaff: () O, if I had time to have made new liveries, I would have bes-
towed the thousand pound I borrowed of you. But 'tis no matter, this poor show
doth better, this doth infer the zeal I had to see him.
Princ Henri: Kog te se avola tie doba dana? Ako asovi nisu a-
e vina, minuti ugojeni petlovi, asovnici jezici podvodaica, sunani-
ci firme burdeqa, a samo blagosloveno Sunce lepa vatrena namigua u
svetlocrvenoj taftanoj haqini, ne vidim razloga to bi se ti patio da
pita za doba dana." (1H, , ii, CD, Kwiga peta, str. 105)
Prince: What a devil hast thou to do with the time of the day? Unless ho-
urs were cups of sack, and minutes capons, and clocks the tongues of bawds, and
dials the signs of leaping-houses, and the blessed sun himself a fair hot wench in
flame-coloured taffeta, I see no reason why thou shouldst be so superfluous to de-
mand the time of the day. (1HIV, I, ii, 5.12)
11 Holderness, Carnival and History: Henry IV", u: Shakespeare Recycled, str. 177.
12 Franois Laroque, Shakespeare's 'Battle of Carnival and Lent' The Falstaff Scenes Re-
considered" (1&2 Henry IV)", u: Ronald Knowles, ed., Shakespeare and Carnival, str. 8396.
13 Po junaku wegovih spisa Euphues, The Anatomy of Wit (1579) i Euphues and his En-
gland (1580).
274
smo mi qudi dobra vladawa, jer nama, kao i morem, vlada naa plemenita
i edna bogiwa Meseca, pod ijom zatitom krademo. (1H, , ii, CD,
Kwiga peta, str. 105)
Falstaff: Marry then sweet wag, when thou art king let not us that are squi-
res of the night's body be called thieves of the day's beauty: let us be Diana's fo-
resters, gentlemen of the shade, minions of the moon; and let men say we be men
of good government, being governed as the sea is, by our noble and chaste mi-
stress the moon, under whose countenance we steal. (1H, , ii, 2329)
Princ Henri: Neu vie da budem kriv za ovaj greh. Ova debela kuka-
vica, ovaj pritiska kreveta, taj lomilac kowskih lea, to ogromno brdo
mesa
Falstaf: Ti, mravko, praznokoo, osueni volovski jezie, ti,
bija ilo, ti, suena ribo! O, da mi je daha da izream sve to lii na
tebe! Ti, krojaki arine, kanijo, futrolo luka za strele, ti, bedna, us-
pravqena, dugaka, uska sabqo (1H, , iv, CD, Kwiga peta, str. 136)
Prince: I'll be no longer guilty of this sin. This sanguine coward, this
bed-presser, this horse-back-breaker, this huge hill of flesh
Falstaff: 'Sblood, you starvelling, you eel-skin, you dried neat's-toungue,
you bull's-pizzle, you stock fish O for breath to utter what is like thee! you
tailor's yard, you sheath, you bow-case, you vile standing tuck! (1HIV, II, iv,
237244)
Tokom iste scene, kada Hal i Falstaf naizmenino igraju uloge Prin-
ca i Kraqa, Falstaf se, kae Larok, u jednom trenutku pojavquje kao
kraq karnevala, dakle praznika mesojea i raspusnosti, kojem se sudi u
predveerje pepeqave srede, dakle neposredno pre poetka posta. Hal, u
ulozi Kraqa, kae:
Why dost thou converse with that trunk of humours, that bolting-hutch of
beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuf-
fed cloak-bag of guts, that roasted Mnningtree ox with the pudding in his belly,
275
that reverend vice, that grey iniquity, that father ruffian, that vanity in years?
Wherein is he good, but to taste sack and drink it? wherein neat and cleanly, but
to carve a capon and eat it? wherein cunning but in craft? wherein crafty, but in
villany? wherein villainous but in all things." (1H, , iv, 442453)
Falstaff: And now is this Vice's dagger become a squire, and talks as fa-
miliarly of John a Gaunt as if he had been sworn brother to him, and I'll be
sworn a ne'er saw him but once in the tilt-yard, and then he burst his head for
crowding among the marshal's men. I saw it and told John a Gaunt he beat his
own name, for you might have thrust him and all his apparel into an eel-skin
the case of a treble hautboy was a mansion for him, a court; and now he has
land and beefs. (2HIV, III, ii, 313322)
Falstaff: Good faith, this same young sober-blooded boy doth not love me,
nor a man cannot make him laugh; but that's no marvell, he drinks no wine. The-
re's never none of these demure boys come to any proof; for think doth so
276
over-cool their blood, and making many fish meals, that they fall into a kind of
male green-sickness; and then when they marry they get wenches. They are gene-
rally fools and cowards which some of us should be too, but for inflammation.
A good sherris-sack hath a twofold operation in it. It ascends me into the brain,
dries me there all the foolish and dull and crudy vapours which environ it, makes
it apprehensive, quick, forgetive, full of nimble, fiery, and delectable shapes,
which delivered o'er to the voice, the tongue, which is the birth, becomes excel-
lent wit. The second property of your excellent sherris is the warming of the blo-
od, which before, cold and settled, left the liver white and pale, which is the bad-
ge of pusillanimity and cowardice; but the sherris warms it, and makes it course
from the inwards to the parts' extremes. It illumineth the face, which, as a bea-
con, gives warning to all the rest of this little kingdom, man, to arm; and then the
vital commoners, and inland petty spirits, muster me all to their captain, the he-
art; who, great and puffed up with this retinue, doth any deed of courage; and
this valour comes of sherris. (2HIV, IV, iii, 85112)
edna usta nae zemqe nee vie No more the thirsty entrance of this soil
Kvasiti usne krvqu dece wene. Shall daub her lips with her own chil-
Svi ti borci dren's blood
Zakrvqeni, svi iste prirode those opposed eyes,
I iste grae, kao meteori Which, like meteors of a troubled heaven,
Uzburkanog neba, to se odskora All of one nature, of one substance bred,
U unutrawim sukobima biju, Did lately meet in the intestine shock
U bratoubilakog rata okraju And furious close of civil butchery,
Zdrueni sad e, u vrstim redovima, Shall now, in mutual well-beseeming ranks,
Ii svi jednim pravcem ne skreui March all in one way, and be no more
Na poznanike, saveznike, svojtu." oppos'd
(1H, , i, CD, Kwiga peta, Against acquaintance, kindred, and allies."
str. 1012) (1HIV, I, i, 916)
14 William Shakespeare, The Complete Works, Volume I: Histories, Editors: Stanley Wells,
Gary Taylor, John Jowett, William Montgomery, BCA, London, New York, Sidney, Toronto 1992
(1 Clarendon Press, 1986; 2 Oxford University Press, 1987). O toj prireivakoj odluci, argu-
mentima za i protiv, videti: Gary Taylor, The Fortunes of Oldcastle", Shakespeare Survey,
38, 1985. Taj prireivaki potez kritikovali su Jonathan Goldberg u: The Commodity of Na-
mes: 'Falstaff 'and 'Oldcastle' in 1 Henry IV, u: Reconfiguring the Renaissance: Essays in Criti-
cal Materialism, edited by Jonathan Crew, Bucknell Review 35, 1992, str. 7688; potom David
Scott Kastan, Killed With Hard Opinions: Oldcastle, Falstaff, and the Reformed Text of 1 Henry
IV" u: Textual Formations and Reformations, edited by Tom Berger and Laurie McGuire, Cam-
bridge University Press, Cambridge 1998.
15 A. R. Humphreys, Introduction" u: William Shakespeare, King Henry IV, Part 1, The
Arden Shakespeare, Routledge, London and New York 1992 (11960), str. xxxix.
16 Ibid, str, xl.
17 U vreme kada je u zborniku Shakespeare and Carnival objavqen ovaj esej, Kristen
Pul je radila na kwizi pod naslovom Deforming Reformation: The Grotesque Puritan and So-
cial Transformation in Early Modern England.
279
18 Kristen Poole, Facing Puritanism: Falstaff, Martin Marprelate and the Grotesque Puri-
tan" u: Shakespeare and Carnival, str. 98.
19 U: Harold Bloom, Ruin the Sacred Truths, Harvard University Press, Cambridge, Mas-
sachusets 1987, str. 84.
20 Facing Puritanism: Falstaff, Martin Marprelate and the Grotesque Puritan, str. 99.
280
21 Ibid, str. 101; Pulova citira i druge autore koji su o ovome pisali: Charles Nic-
hol, A Cup of News: The Life of Thomas Nashe, Routledge and Kegan Paul, London 1984; Tako-
e i C. L. Barber, Shakespeare's Festive Comedy, Princeton University Press, Princeton, W 1959.
22 Ibid, str. 102.
23 Ibid, str. 103104.
24 O tome u: Martin Holmes, Shakespeare and his Players, Charles Scribner's Sons, 1972,
str. 4750.
281
25 Facing Puritanism: Falstaff, Martin Marprelate and the Grotesque Puritan", str. 104.
26 Ibid., str. 106; Takoe i: John Dover Wilson, u: The Fortunes of Falstaff, Cambridge
University Press, Cambridge 1964, str. 1535; Alfred Ainger, Lectures and Essays, Vol. 1, Mac-
millan and Co, Ltd, London 1905, str. 14055. U studiji Biblical Reference in Shakespeare's
History Plays (University of Delaware Press, Newark 1989) Naseeb Shaheen navodi da od 54
biblijske reference u Prvom delu Henrija 26 pripada Falstafu, koji indirektno citi-
ra Kwigu postawa, Izlazak, Drugu kwigu Samuilovu, Psalme Davidove, Prie Solomunove,
Jevaneqe po Mateju, Jevaneqe po Marku, Jevaneqe po Luki, Prvu poslanicu Korinanima,
Drugu poslanicu Korinanima, Prvu poslanicu Soluwanima.
282
27 O tome: Bertolt Brecht, Mali organon za teatar", preveo Darko Suvin, u: Darko Suvin,
Uvod u Brechta, kolska knjiga, Zagreb 1970, str. 225255. Rejmond Vilijams, Drama od Ibze-
na do Brehta, prevela Marta Frajnd, Nolit, Beograd 1979, str. 314329.
28 Videti: Zorica Beanovi-Nikoli, Sukob interpretacija u recepciji ekspiro-
vih istorijskih drama u dvadesetom veku, Zbornik Matice srpske za kwievnost i jezik,
kwiga , sveska 1/2006, str. 167182.
29 Tzvetan Todorov, Mikhail Bakhtin: The Dialogical Principle, trans. Wald Godzih, Man-
chester University Press, Manchester 1984, str. 90.
30 Gordon McMullan, 'Swimming on bladders': the Dialogics of Reformation in Shake-
speare & Fletcher's Henry VIII, u: Shakespeare and Carnival, str. 211227.
31 Henri je pod naslovom The Famous History of the Life of King Henry the Eight
prvi put objavqen u Prvom foliju 1623. godine, kada su ga Hemings i Kondel uvrstili u
istorijske drame. Budui da su prireivai Folija dramu objavili kao ekspirovu, ona
je i smatrana u potpunosti wegovom sve do sredine devetnaestog veka, kada je 1850. X.
Speding (J. Spedding) objavio tekst Who Wrote Shakespeare's Henry VIII? nastojei da doka-
e dvojno autorstvo Vilijama ekspira i mlaeg dramskog pisca Xona Fleera (John
Fletcher, 15791625). I posle Spedinga je bilo dosta pristalica teorije da je Henri
samo delimino ekspirov, ali i onih koju su dokazivali da je re o ekspirovom au-
torskom delu iz poznog perioda, te otuda po stilu i kompoziciji slinijem poznim ro-
mansama nego istorijskim dramama. Miqewa su i do danaweg dana podeqena, neki au-
tori ovu dramu tretiraju kao ekspirovu, neki, poput Mekmalena, veruju da je re o dvoj-
nom autorstvu.
283
pomiwu pod naslovom All is True, dakle, recimo, Cela istina, koji su
prireivai Prvog folija Hemings (John Heminges) i Kondel (Henry
Condell) kasnije zamenili imenom kraqa, da bi upotpunili hronoloki
niz istorijskih drama. Mekmalen ispituje kako jedan tekst pod naiz-
gled apodiktinim i monolokim naslovom All is true deluje dijalogi-
no i kako izaziva ambivalentnu recepciju, o kojoj svedoi Votonovo
pismo Edmundu Bejkonu (Sir Edmund Bacon), svojim istovremeno rado-
snim i uznemirenim tonom.
Iako bi se, kae Mekmalen, bar na osnovu tehnikih pojedinosti
(pored pretpostavke o dvojici autora, koji su, po svemu sudei, kori-
stili dva izvora: Holinedove Letopise i Foksova /Foxe/ Dela i spo-
menike /Acts and Monuments/, utvreno je da su tekst za Folio slagala i
dva slovoslagaa), moglo zakquiti da je drama najvema dijaloka od
svih, Henri obino nije ulazio u vidokrug kritiara koji su uspo-
stavqali vezu izmeu bahtinovski shvaenog dijaloga i ekspirovih
drama. Delimino zbog deklarativnog distancirawa od komedije ve u
Prologu, a delimino stoga to u ovoj drami, na prvi pogled, nema oi-
gledno karnevalskih momenata. Ona je komponovana kao niz linearno-
-hronoloki povezanih dogaaja (uz nuna saimawa vremenskih raz-
maka), najee predstavqenih u vidu raskonih, mnogoqudnih, ritu-
alno-ceremonijalnih scena u odgovarajuem dekoru i kostimima (pro-
slava u dvoru kardinala Vulsija i maska u kojoj uestvuje sam kraq, Ba-
kingamov put na gubilite, veawe kardinala o razvodu Henrija i
Katarine Aragonske, krunisawe Ane Bulin, krtewe Elizabete ), sa
dve upeatqive intimistike scene (pad kardinala Vulsija i wegova
smrt i smrt Katarine Aragonske). Henri predstavqa iseak" iz
vladavine Henrija , sa kqunim detaqima kao to su prvi razvod,
razlaz sa Vulsijem i Rimom, tenzije izmeu pristalica reformisane i
pristalica katolike crkve meu crkvenim velikodostojnicima. Mek-
malen, meutim, smatra da se u ovoj drami moe razabrati razvijen di-
jaloki princip, koji se manifestuje kako u tihim, uznemirujuim
dvoglasnim provokacijama unutar pojedinane rei ili iskaza, tako i u
upadqivim postupcima jukstapozicije, ime se proizvode karnevalski
efekti.
Vulsijev lik je, ako se paqivije ita, na svoj nain, tvrdi Mek-
malen, otelovqewe karnevalske groteske.32 Bakingam za wega kae: u
svakoj orbi on je miroija" (H, , i, CD, Kwiga esta, str. 239)
no man's pie is freed / From his ambitious finger" (HVIII, I, i, 5253,).
Ogroman je i plebejskog je porekla. Bakingam opisuje wegovu telesnu
gromadu:
Ja se udim
Da takva lubina zapreminom
Svojom moe da privue na se
Zrake blagotvornog Sunca, i Zemqu
Da zakloni." (H, , i, CD, Kwiga esta, str. 239)
I wonder
That such a keech can with his very bulk
Take up the rays o'the beneficial sun,
And keep it from the earth." (HVIII, I, i, 5457)
I have ventur'd
Like little wanton boys that swim on bladders,
This many summers in a sea of glory,
But far beyond my depth: my high-born pride
At length broke under me, and now has left me,
Weary and old with service, to the mercy
Of a rude stream that must for ever hide me." (HVIII, III, ii, 358364).
33 Ibid, str. 219: Raphael Holinshed, The Third volume of Chronicles, beginning at duke
William the Norman, London 1587, 837b; John Speed, The Theatre of the Empire of Great Brita-
in, London 1611.
285
34 Ibid.
35 Tu se oslawa na jednog od autora koji su, nasuprot Bahtinu, dokazivali da je dra-
ma dijaloki i karnevalski anr, Grejama Piija (Graham Pechey) koji, izmeu ostalog,
kae da je karneval (ukratko) teatar istorije: iroko popularan po svom sadraju, a izu-
zetan u svom odigravawu i povodima". McMullan, str. 216; Graham Pechey, On the Borders
of Bakhtin; Dialogisation, Decolonisation", u: Ken Hirschkop, David Shepherd, eds., Bakhtin and
Cultural Theory, Manchester University Press, Manchester, str. 3967.
36 Kurziv u navodima Z. B. N.
286
Zorica Beanovi-Nikoli
Summary