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VÁLKOV HAVRAN. BÁSEŇ MIROSLAVA VÁLKA VEČER AKO SUBVERZIA TRADIČNÉHO SYMBOLISTICKÉHO MODELU LYRIKY

100%

Mikšík M.

Slovenská literatúra (Slovak Literature)

2022

vol. 69

issue 5

515 – 524

The article reads Miroslav Válek’s (1927 – 1991) poem “Večer [Evening]” published in the poet’s first collection of verse Dotyky ([Touches], 1959) as a deconstructive subversion of lyric tradition – of Ivan Krasko’s (1876 – 1958) symbolist model of the lyric and Edgar Allan Poe’s (1809 – 1849) “The Raven” (1845). The author argues that Válek subverts the tradition by the specific way he tackles the motifs of the night, rain, and raven known in the Slovak poetry mainly from the writing of Ivan Krasko and by the way the poet updates the lyric situation of Poe’s notoriously well-known poem and its central motif. Another aspect that gets subverted is the tragic-elegiac melancholic modality of the poem. The analysis notices the first line of the poem where the night setting is outlined, then moves on to the key image of rain “without melancholy” and the updated motif of the raven. Finally, it discusses the detachment of the speaker from what goes on in the poem – the speaker in the poem is different from the subject affected by emotions and moods modelled in the lines. The reading grasps Válek’s poem and sophisticated subversive deconstruction of the traditional model of symbolic poem concerned with romantic love.

ČLOVEK, ZVIERA, BOH, STROJ. SUBVERZIA TELA A TELESNOSTI VO VÁLKOVOM MILOVANÍ V HUSEJ KOŽI

88%

Gavura J.

Slovenská literatúra (Slovak Literature)

2024

vol. 71

issue 3

291 – 310

Miroslav Válek’s collection Milovanie v husej koži ([Love making in a goose skin] 1965) represents an example of an extreme confrontation of man with the pressing questions of his own mortality in the context of Slovak poetry. The author derives his doubts about the meaning of the world and of man from strictly material and rational observations, from which he excludes the presence and action of a transcendent force or being (God), and instead presents the world as a confluence of coincidences, a mechanical action at the level of physical objects and bodies, whose movement is machine-like and whose life, often reduced to the level of animals, remains enclosed in an impoverishing animal finality. The publication of the book was followed by a literary polemic which largely influenced the perception and evaluation of Válek’s human attitude and the applied philosophical concepts. However, the thematisation of the negation of the immanent transcendent principle and its replacement by a fatalistic materialistic structure of the world does not in itself degrade the artistic achievement, and in retrospect, Válek’s radical and absolute gesture expressed in the book can be understood as part of his autonomous lyric journey.

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2 Slovenská literatúra (Slovak Literature)

1 Gavura J.

1 Mikšík M.

1 2024

1 2022

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VÁLKOV HAVRAN. BÁSEŇ MIROSLAVA VÁLKA VEČER AKO SUBVERZIA TRADIČNÉHO SYMBOLISTICKÉHO MODELU LYRIKY

ČLOVEK, ZVIERA, BOH, STROJ. SUBVERZIA TELA A TELESNOSTI VO VÁLKOVOM MILOVANÍ V HUSEJ KOŽI