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1

TRI ŽALMICKÉ ADAPTÁCIE ANDREJA SLÁDKOVIČA

100%
Blažencová Ľ.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 2
159 – 171
EN
The article focuses on the reflective-meditative poetry which the Slovak poet Andrej Sládkovič (1820 – 1872) wrote in the 1860s and early 1970s. His three psalmic adaptations (poems Žalm XLIV [Psalm XLIV], Žalm XXI [Psalm XXI] and Žalm III [Psalm III]) draw on biblical texts dealing with suffering, repentance, the passing of time and eternity. The three poems show the gradual change in the poet’s work – the restless revolutionary attitude changes into thankfulness for the victory and finally to the humble acceptance of life, submitting to God’s will the joyless state of the nation and the poet’s personal suffering. Sládkovič begins with a collective elegy, pleading on behalf of the whole nation, turning to the past and showing devotion and trust in God. In the royal psalm, he used climax and literary devices involving repetition. The final poem, an elegy of a theologian, is marked by the author’s return to the use of the Czech language and to the melodies from the Protestant hymnal Cithara sanctorum. The elegiac parts resonate with motives of negative emotional states and accusations of enemies. Each poem ends in the lyrical subject making sure he has been heard.
2

KALINČIAK V UHORSKU – MOTÍV AKO SIGNÁL KONTEXTU

75%
Dušíková A.
Slovenská literatúra (Slovak Literature)
|
2020
|
vol. 67
|
issue 2
105 – 114
EN
Reconfiguration of Slovak Romanticism, its openness towards the model of literature and art as it was formulated by German philosopher Friedrich Schlegel (1772 – 1829) in the early of the 19th century. The unambiguous position of the prose writer Ján Kalinčiak (1822 – 1871) as an author of Romanticism together form space which can be interrelated on the basis of common aesthetic principles to the characteristic features of the works written by authors of Hungarian literary Romanticism of the Schlegelian type. This provides space for research into the particularities of the (assumed) inter-literary/inter-linguistic dialogue. It shows that despite the isolationist form of the foreign-language public spaces of cultures and literatures in Hungary in the 1830s and 1840s the way Ján Kalinčiak and Mihály Vörösmarty handled two selected motifs (wilt and blood revenge) in their texts can be interpreted as a manifestation of the ongoing yet no longer visible process of exchanging information. Also, they can be seen as another proof of the fact that the particularities of the Schlegelian model of Romanticism had a noticeable influence on forming Slovak literature at that time.
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