Jezik in slovstvo

Kodni sistem
Slovenska knjizevnost
Avtorji
Urednistvo <-> bralci

Jezik in slovstvo
Povzetki

Jozica Ceh

Epitetoni v Zupancicevi poeziji
Epitethons in Zupancic's Verse

Slovenski sinopsis
English synopsis
English summary

Slovenski sinopsis

Zupanciceve pesmi so polne najrazlicnejsih epitetonov -- ti so secesijski, impresionisticni, simbolisticni in ekspresionisticni. Lahko so enostavni, pogosto pa so tudi vecclenski. So zelo raznovrstni, povezani s cutnozaznavnimi, custvenimi in verskimi predstavami, pa tudi z ljudsko pesmijo in belokranjskim govorom. Z njim je pesnik zniansiral in zvocno obogatil svoj pesniski izraz.

English synopsis

Zupancic's verse is full of all sorts of epithetons --- these are secessional, impressionistic, symbolist and expressionist. They can be simple and often also consist of several parts. They are very different, connected with images that can be perceived by sense, with emotional and religious concepts, as well as with folk song and the dialect from Bela krajina. With them the poet made his poetic expression much richer in terms of sound and the various shades of meaning.

English summary

Like other Slovene symbolists, O. Zupancic also followed Cankar's requirement (1899) for refined methafors or for the restoration of the Slovene poetic expression, which had in the second half of the 19th century arrived at »cul-de-sac« characterised by formalism. He did this in a very inventive manner and achieved long-term responses to his work. Simbolist poetry to a large extent individualized the epithet. By means of the latter it indicated, partly concealed and shaded the meaning of words, and produced sonorously efficient combinations.

In Casa opojnosti (1899), Cez plan (1904), Samogovori (1908) and in the collection V zarje Vidove (1920) we have analysed Zupancic's permanent, illustrative and individualizing epithets. Zupancic's epithets show in the material itself, its functions and formal characteristics.

The essence of Zupancic's epithets originates from the sense-perceptive, sense-emotional and the religious worlds, from folk songs, from the speech habits of the Bela krajina region and from the literary language in fashion. Among Zupancic's predominant colour epithets are clear and intensive colours of gold, red, black and also white and silver. In the first three collections the dominant colour is gold, but the poems dealing with social and war themes in the collection V zarje Vidove gave preference to the epithet of the colour red, with which Zupancic described also the nuances of this colour as blazing, flaming, burning. The subtle perception of nuances is expressed by epithets of light. Vocal epithets most frequently depict silence, epithets of taste deal with sweetness, but synaesthetic ones seldom occur. The most vast and varied range of epithets is found in Casa opojnosti.

Zupancic's epithets are secessionistic, impressionistic, symbolistic and expressionistic; at times they occur in fixed phrases or they may play a traditionally symbolistic role. Religious and highly sensual epithets can in Casa opojnosti also be found in extralinguistic functions in the liberation of erotic poetry.

Zupancic made use of participial epithets, compound, adverbial-adjectival and complex ones. He frequently arranged them along the sound axis.