Jezik in slovstvo

Kodni sistem
Slovenska književnost
Avtorji
Uredništvo <-> bralci

Jezik in slovstvo
Povzetki

Jožica Čeh

Epitetoni v Župančičevi poeziji
Epitethons in Župančič's Verse

Slovenski sinopsis
English synopsis
English summary

Slovenski sinopsis

Župančičeve pesmi so polne najrazličnejših epitetonov -- ti so secesijski, impresionistični, simbolistični in ekspresionistični. Lahko so enostavni, pogosto pa so tudi veččlenski. So zelo raznovrstni, povezani s čutnozaznavnimi, čustvenimi in verskimi predstavami, pa tudi z ljudsko pesmijo in belokranjskim govorom. Z njim je pesnik zniansiral in zvočno obogatil svoj pesniški izraz.

English synopsis

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

The essence of Župančič'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 Župančič'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 Župančič 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 Čaša opojnosti.

Župančič'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 Čaša opojnosti also be found in extralinguistic functions in the liberation of erotic poetry.

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