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Lyrický zápisník stárnoucího muže. „Prosté motivy” Jana Nerudy

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Mocná D.
Slavica Wratislaviensia
|
2016
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vol. 163
473-484
EN
The present article discusses the motif of ageing in the collection of poems Plain Themes (Pro­sté motivy) by the highly esteemed Czech writer Jan Neruda. The theme of coming to terms with aging is especially apparent in the initial version of the collection — a lyrical cycle of 1879, which centres upon autumn natural motifs, corresponding with the situation of the speaker of the poems (as well as the author himself). Apart from traditional reactions to the aging process (melancholy, reca­pitulation, sorrow for the bygone youth), we can observe a continuing striving for erotic experience, testifying to the speaker’s desire to fully enjoy the remaining time of his life. At the end of the cycle, Neruda attempts at coming to terms with death by means of two powerful poems, conceived as an authentic, almost diary-like account of the horrible sense of the inevitable end. In the definitive book version of the cycle, the topic of aging is incorporated into a new con­cept of the collection, which is the confrontation of the linearity of life and the circuitous course of the natural cycle. The reflection upon aging is placed in the “Autumn” section of the collection, whose melancholic and recapitulative character is even more prominent (whereas the erotic themes have been relegated to the “Summer” section). The death of the speaker is conceived in a more distanced way, making use of a rich allegorical apparatus. The book version also introduces the topic of immortality, whose source is not, rather surprisingly, a work of art of everlasting value, but that of procreation. Neruda thus confirms his anti-aesthetical attitude, which makes him stand out in the context of the prevailing Parnassian orientation of Czech poetry of the period.
PL
W artykule podjęty został temat starzenia się w zbiorze poezji Prosté motivy autorstwa czołowego czeskiego pisarza Jana Nerudy. Radzenie sobie ze starzeniem jest znaczące zwłaszcza dla źródłowej wersji zbioru — lirycznego cyklu z roku 1879 skupionego wokół jesiennych motywów przyrodniczych korespondujących z sytuacją życiową podmiotu lirycznego (i samego autora). Obok stereotypowych reakcji na proces starzenia się (melancholia, podsumowania, tęsknota za utraconą młodością) spotykamy się tu także z ciągłym pragnieniem erotycznych przeżyć zdradzających chęć cieszenia się w pełni czasem, który pozostał podmiotowi lirycznemu. Pod koniec cyklu Neruda starał się pogodzić z tematem zbliżającej się śmierci za pomocą dwóch sugestywnych wierszy koncypowanych jako autentyczny, niemal dziennikowy opis uczucia strachu przed nieuchronnością przemijania. W ostatecznej wersji książkowej temat starości został dołączony do nowego konceptu zbioru, którym stała się konfrontacja linearności życia ludzkiego z wiecznym biegiem cyklu natury. Refleksje nad procesem starzenia się włączone są przeważnie do części Jesiennej i, w odróżnieniu od pierwotnego cyklu, podkreślony jest tu element melancholijny i podsumowujący (tematyka erotyczna została przesunięta do części Letniej). Śmierć podmiotu lirycznego jest omówiona dość niejednoznacznie, zużyciem potężnego aparatu alegorycznego. W wersji książkowej pojawia się również temat nieśmiertelności. Jej źródłem nie jest dzieło artystyczne, ale spłodzenie potomstwa. Neruda w ten sposób potwierdza swoją antyestetykę, co odróżnia go od dominującej parnasistowskiej orientacji ówczesnej liryki.
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Příběhy Nerudových lásek. Životopis jako kulturní konstrukt

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Mocná D.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 2
149-175
EN
This article takes issue with the opinion that a biography is a collection of verifiable facts with clear causal links. Drawing upon current research on the historical narrative, the article sees biography as a product of collective interpretation, which changes over time. The article illustrates these processes using the example of the biographical treatment of the love affairs of the writer Jan Neruda (1834–1891). In particular it considers how social norms and cultural models of the period were employed in the writing of biography and then its variation. The first part of the article analyzes the mechanisms of the selection of real-life facts. The second part analyzes how these facts are treated, both diachronically and synchronically. In the first, on the basis of critiques of primary sources, it considers strategies that the individual figures (future characters) use to fight for their positions in the story of Neruda’s life, and how the people close to them worked on their inclusion in the Neruda myth. The author argues that although this ‘lobbying’ by the participants was important, it was equally important, if not more so, that the stories which they offered to the public were in keeping with contemporaneous aesthetic priorities and norms. In Neruda’s early work on the biography his relations with his ‘eternal betrothed’, Anna Holinová, were particularly important. He saw these relations as something between a Biedermeier idyll and a Neo-omantic fairy tale about his love for the terminally ill and unattainable Terezie Macháčková. Twenty years later the time was ripe for his ‘romance of love and honour’ with the writer Karolina Světlá (1830–1899). Because his other romantic relations tended to be considered unacceptable (for example, his love affair with Božena Vlachová), they made their way into his biography only with difficulty or have not yet been included (his affairs with actresses like Emilie Bekovská). The second part of the article considers the perspective from which these constructed ‘stories’ were read by members of various generations, that is to say, literary historians and biographers. The adaptation of the story to changing times is considered here, using the example of shifts in the interpretation of Neruda’s love affair with Holinová. This part of the article also points out the tendency of the genre to be standardized; the individual, sometimes unconventional, form of the author’s attitudes and experiences is smoothed out to make it acceptable to the majority of recipients. The author argues this using the example of Neruda and Světlá’s affair, which was, as is evident in the surviving sources, hardly an ordinary love story, though it became ordinary in its biographical treatment. This standardization is, however, clearly the price that has to be paid for the immortality of important individuals, as Milan Kundera points out in his novel Nesmrtelnost (immortality).
3

TRANSFORMACE BALADICKÉHO ŽÁNRU V BÁSNICKÉ TVORBĚ JANA NERUDY

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Mocná D.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 4
312 – 323
EN
The goal of the article is to examine the transformation of the ballad as a genre in Jan Neruda´s poetry, especially in his mature collection of poems called Balady a romance (Ballads and romances) - year 1883. The study builds on the existing, quite extensive scientific literature dealing with the making of the book, the models and the sources of inspiration for individual poems and Neruda´s distinction between the ballad and the romance, and then first critical feedback on the collection. The ballad was one of the favourite genres of the May School members, who filled it with new, especially social-critical contents. This is the way young Jan Neruda went, too, nevertheless, in his mature production, he seems to have come back to the traditional form of the genre. In fact, it was only a partial comeback as despite all the admiration for his powerful poetry, he transformed it so as to able to express a modern man´s experience. First of all, he extended the scope of the genre by overlapping it with the legend, the genre in the atmosphere of which he had spent his childhood. His stories of saints´ lives are of humorously mocking nature (in this respect he cannot conceal his inclination for Heinesque provocations) however, they are also just as serious. This particularly applies to the subjects related to Jesus, who became the central character of the collection. He appears there in many forms: as a baby in a crib, as a political revolutionary, as a crucified son of God and as a kind humanist as based on the modern concept of Renan´s. The list of the forms makes it clear that the ballad was considerably politicized by Neruda. Besides the biblical subjects he used for that purpose the motifs related to national history as well as the contemporary political events. While the political aspect in the romances is very often obvious (including explicit revolutionary appeals), the ballads call for deeper contemplation about the social processes and the fate of the nation. Despite the fact that there is available evidence Neruda was inspired by folklore, his ballads and romances are only seemingly simple; the presented folksiness is the result of sophisticated artistic pretence. The writer did not abandon the old forms, he filled them with modern contents expressing how complicated the contemporary world is.
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