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Psát okem na zeď cely… Črta k vězeňské lyrice Václava Renče

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Wiendl J.

Slovo a smysl - Word & Sense

2019

vol. 16

issue 31

132-146

This article presents an analysis of Václav Renč’s lyrical poetry from the period of his imprisonment by the Communist regime in 1951–1962. From Renč’s extensive collection of prison poems (including such lyrical-epic compositions as Cinderella of Nazareth, first published in book form in 1969; Prague Legend, 1974; and Loretan Light, 1992; as well as several poems collected in Meeting with the Minotaur, 1969) we take a look at the nineteen poems Renč included in an anthology of his works from 1941–1962 under the title Lark Tower (1970). To the section of lyrical texts from the years 1951–1962 the poet gave the title Without Echoes. In particular, the study focuses on how Renč’s lyrical poetry from the period of his imprisonment builds upon his previous critically acclaimed poetry, simultaneously aiming to address the question of what makes this work unique. The unique quality can be found in the formal precision of the texts, which represents the poet’s effort to maintain his moral integrity and identity while in prison, while at the same time, by virtue of carefully constructed allusions to the verses of certain poets with whom Renč had worked as a poet and translator before his imprisonment, strengthening his sense of inner freedom. A key starting point for the aesthetic composition of the prison poems is the combination of various expressive and often elementary contradictory motifs, perspectives or attitudes, a process typical of prison poetry in general. In Václav Renč’s poetry, this initial moment is re-envisioned on the principle of the so-called lyrical dichotomy, which, on the basis of subtle gradational and compositional techniques and intersections, connects distinctive opposites into subtle poetic images. However, this is not the expression of a selfcentered aesthetic game, but an attempt to articulate — and cope with — a new and exacting life situation. In this way, Václav Renč’s poetry, which had always been characterized by its compositional and figurative rigor, would later become more austere in its semantics, at the same time gaining in intensity, depth and reach.

Antroponyma v Magorových labutích písních

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Kolár R.

Acta onomastica

2019

vol. 60

issue 2

233-239

The paper deals with personal names and their functions in the poetry collection Magorovy labutí písně (1985) written by Ivan Martin Jirous (1944–2011). According to underground poetics, Jirous uses real names. The nature of naming depends on whether the person is male (one-word and multi-word naming) or female (strictly one-word naming by first name); whether the person is close to the author (usually naming by the first name or a combination of a hypocorism and the last name) or historical figure (by the last name or a combination of the official first name and the last name). In the case of names of historical figures, the dominant function is associative, in the case of names of persons close to the author the functions are phatic (a distant contact with the named person), honorific (honouring the named persons) and magic (protection of named persons). One of the key features of Magorovy labutí písně is that names are often in rhyme position – rhyming names are a sign of virtuosity but at the same time of humorous poetry (epigram, satire).

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1 Acta onomastica

1 Slovo a smysl - Word & Sense

1 Kolár R.

1 Wiendl J.

2 2019

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Psát okem na zeď cely… Črta k vězeňské lyrice Václava Renče

Antroponyma v Magorových labutích písních