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SLOVENSKÁ LITERATÚRA

Volume L. 2003 / No 1

• Tomáš H o r v á t h, In the Labyrinth of Derivations (Probe into the Modernism) 1
• Timotea V r á b l o v á, Aesthetic Code of Church Hymns (Juraj Tranovský ´s Cithara Sanctorum, 1636) 20
• Jana K u z m í k o v á, Masks in the Time 34
• Jozef T a t á r, Love Lyrics of Tichomír Milkin 44

• Ingrid B a b i k o v á, Song of Solomon in Baroque Mysticism 59

Chronicle 77

Review 80

From scholarly life 86

The study continues in the next number.

The study continues in the next number.

The study is based on interpretation of three short stories of modernistic author Ivan Horváth. They were published in his posthumous collection Nepravdepodobný advokát (An Improbable Advocate, 1965). Masks, faces and modernistic time are key categories of the interpretation. The author of the study methodologically compares those three phenomena with present opinions. The latest knowledge of post-modernistic scholarship make the problems more clear and also partly offer some solutions of those ones, which evoked in the life of modernistic person negative feelings of anxiety and absurdity of the world . It gives us possibility to speak about Modernism as a close epoch.

Love Lyrics of Tichomír Milkin

Tichomír Milkin (1864 – 1920) anticipated poetics of Slovak Modernism not only a as literary theorist (effort to reform a model of versification), but as well as a poet – his privatissimum became a poetry. The love lyrics (he made it mainly in 1885-1899) foreruns the poetic efforts of J. Jesenský declared in his first collection of poems Verše (Verses, 1905).

Milkin ´s form opens taboo topics of love and eroticism. It proves that in spite of the lack of relevant program there were tendencies opened to fashionableness, freedom of author and authenticity of intimate feelings and experiences before Jesenský. Milkin´s calling for presence of ”amorous love” in Slovak poetry was listened only by a little circle of friends. Absence of social reception of his love lyric caused that uniformity of topic and of ideas in literature was resisting up to the publishing of Jesenský ´s Verše (Verses).

Novelty of Milkin´s subjective lyric (regard with erotic motives) is based on reflection of sensual ecstasy and quite a bold interest in female physiognomy (motives of body) and on chaste erotizing. He was not subdued neither by spiritual contemplation about love nor of lascivious exposure of consumption sexuality. Formally cultivated poetry contains inner dramatization coming from permanent confrontation of lyrical subject with paradox life realia. Milkin as an author transformed sensual ecstasy to legitimate creative act. That makes him an important forerunner of J. Jesenský.