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ESCHATOLOGICKÉ VÍZIE SVETA V RUSKEJ A SLOVENSKEJ LITERATÚRE KONCA 19. A ZAČIATKU 20. STOROČIA (SEKTÁRSTVO U ANDREIA BELYHO A SVETOZÁRA HURBANA VAJANSKÉHO)

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Maliti E.

Slovenská literatúra (Slovak Literature)

2014

vol. 61

issue 5

429 – 440

Using the theme of sectarianism, the paper compares the works written by Russian representative of Symbolism Andrei Bely (1880 – 1934) and Slovak Realist writer Svetozár Hurban Vajanský (1847 – 1916) – namely the novels The Silver Dove (1909) and The Root and The Shoots (1895-6). Russian literary science has been dealing with sectarianism in Bely´s work in the last few years but the sectarian motifs in Vajanský´s works have not been particularly examined. Inter-literary comparison brings the corpus of Slovak literary works written in the late 19th century into the European context. The authors from the opposite extremes of the turn of the two centuries are related by the origin of their thinking – the ideas of Russian slavophiles. What is important are the efforts made to revive the novel as a genre in a modern manner: A. Bely achieved a worldwide success and S. H. Vajanský did as well in Slovak literature, where he forged the „novel situation“. Both of the works compared are critical of the social system, the dysfunctional elites of the society and challenge the official church. Sectarianism in Bely´s and Vajanský´s works is seen here in the wider context of the „dark“ world reflected on in literary Modernism. Bely used this phenomenon to build up his novel from within as a part of his artistic and philosophical pursuit in the context of Russian Modern. Sectarianism in the work by Vajanský, who used it as one of the motifs, was the result of finding new themes and phenomena which would make it possible to define the nature of the contemporary life of Slovak society.

K BÁSNICKÉMU KONCEPTU A VARIANTOM POHLAVNEJ LÁSKY VO VAJANSKÉHO VERŠOVANOM ROMÁNE DUŠINSKÝ

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Tatár J.

Slovenská literatúra (Slovak Literature)

2018

vol. 65

issue 6

447 – 461

Vajanský´s poetic concept titled Vít was created in 1878, while some of the parts came out in the late 1870s in the Národnie noviny and Orol. As a book with the title Dušinský it was only published as late as 1909 in Sobrané diela, volume 6. The astute observation made by I. Kusý (1987) about anticipating his debut collection does not need editing, neither the emphasis of his ideological and formal innovations in poetry. In comparison with the composition titled Maják (1879), where Vajanský applied the romantic or postromantic attitude to reality, Dušinský refers to the realist and critical face of the poet. By depicting the petite bourgeoisie environment with its readily observed characters, by applying reflexiveness, fragmentariness, lyric elements, conversational style etc., i.e. a new „non-prosaic“ rendition, the narrative and reflexive genre is made by the poet more modern and dynamic. The evolutionary stimulation accompanies the rise of the realist aesthetic structure with its typical attempts at critical probes into the reality of those times. Unlike the previous critical reflection of this literary work focusing on the writer´s share of the evolutionary progress in Slovak poetry and non/confirmation of Vajanský as a receptive poet, this paper pays special attention to the characteristics of the poetic concept with the accent placed on the analysis of the variants of sexual love. There is no need to question Kusý´s designation of the work as a „novel of love“, perhaps just to make it more accurate – the „intended“ novel of love. Everything else – i.e. the national or social issues of those times – is only the period background. Despite the fact that art wise Vajanský attempts to offer a wide variety of characters based on life experience, when thematizing sexual love he remains constrained by the contemporary social taboos as well as his own ones. The source of this „monochromatic“ attitude is the writer´s as well as the community awareness which affects the way the characters are shaped. What Vajanský did in Dušinský again is to only bet on love in the form of one-sided affection – platonic, leaning towards the Wertheresque type – lacking any contact with the vital force of Eros, by which he established a strict border between soul and body. Thus in an artistically unproductive way he simplifies things and he makes the characters seem inanimate, apathetic or even schizoid. Even though the writer managed to be in an activating contact with the reader, nowadays Dušinský could hardly be expected to get significant reception. However, due to the gaps in literary scientific reflection and orientation towards new analytical and interpretative reading, this important piece of the literary corpus of Slovak epic poetry presented an exciting challenge.

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2 Slovenská literatúra (Slovak Literature)

1 Maliti E.

1 Tatár J.

1 2018

1 2014

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ESCHATOLOGICKÉ VÍZIE SVETA V RUSKEJ A SLOVENSKEJ LITERATÚRE KONCA 19. A ZAČIATKU 20. STOROČIA (SEKTÁRSTVO U ANDREIA BELYHO A SVETOZÁRA HURBANA VAJANSKÉHO)

K BÁSNICKÉMU KONCEPTU A VARIANTOM POHLAVNEJ LÁSKY VO VAJANSKÉHO VERŠOVANOM ROMÁNE DUŠINSKÝ