Page 19 - Zakaj Črtomir ne umre? Preobrazbe nacionalnega mita: zbornik povzetkov. Koper: Založba Univerze na Primorskem.
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R GRDINA, ZNANSTVENO-RAZISKOVALNI CENTER SLOVENSKE AKADEMIJE
ZNANOSTI IN UMETNOSTI, SLOVENIJA
NIČ VEČ SE NISTA VIDELA NA SVETI
Prešernov Krst pri Savici je kljub samostojnemu prvemu natisu leta 1836 nazadnje – 1846 – postal integralni del
Poezij. Hkrati pa je tudi ta pesnitev sestavljena. Žanrsko je povest v verzih, vendar se pomembno oddaljuje
od byronovskega zgleda – ki ga je Prešeren, kakor dokazuje prevajalski fragment Parizina, poznal – prav po
tem. Sestavljenost Prešernovi pesnitvi omogoča vstop v lirski kontekst Poezij, v katerem deluje kot zgodbena
prispodoba. Za takšno jo dela posvetilni sonet, ki govori tudi o korespondiranju osebne izpovednosti z
občutenji, tematiziranimi skozi zgodbo. Pri tem se poslednji verz izkaže za ključnega. Krst pri Savici je bil
razumljen na mnoge, tudi povsem nasprotujoče si načine. Sestavljeni tekst sam to do neke mere omogoča
– zlasti z izpusti posameznih delov iz interpretacije –, vendar pa se o avtorjevem stališču in razumevanju ni
mogoče motiti. Posvetilni sonet in sklep pesnitve sta dovolj jasna. Prav zato je povest v verzih tudi mogla
skleniti Poezije.
Ključne besede: France Prešeren, povest v verzih, sestavljenost
IGOR GRDINA, RESEARCH CENTRE OF THE SLOVENIAN ACADEMY OF SCIENCES AND
ART, SLOVENIA
THEY WOULD MEET NO MORE IN THIS WORLD
Despite being initially printed separately in 1836, Prešeren’s Krst pri Savici (The Baptism on the Savica) finally –
in 1846 - became an integral part of Poezije (Poems). At the same time, this long poem is itself a composition
of different parts. In terms of genre, it is a verse narrative, but it deviates significantly from Byron’s model
- which Prešeren, as the translation fragment of Parisina shows, was well familiar with – precisely in this
aspect. The compound structure of The Baptism enables it to be integrated into the lyrical context of Poems,
where it functions as a narrative allegory, which is primarily due to the homage sonnet. The latter suggests a
correspondence between lyrical personal confession and the feelings thematised in the story. The last verse of
The Baptism proves to be crucial in this respect. The Baptism on the Savica was understood in many different,
even completely contradictory, ways. To some extent, the composite text itself allows this, - especially when
we omit particular parts from the interpretation - but the author’s position and understanding cannot be
mistaken. The homage sonnet and the conclusion of The Baptism are clear enough. This is also the reason why
a verse narrative could conclude Poems in the first place.
Key words: France Prešeren, verse narrative, composition of the poem
17
ZNANOSTI IN UMETNOSTI, SLOVENIJA
NIČ VEČ SE NISTA VIDELA NA SVETI
Prešernov Krst pri Savici je kljub samostojnemu prvemu natisu leta 1836 nazadnje – 1846 – postal integralni del
Poezij. Hkrati pa je tudi ta pesnitev sestavljena. Žanrsko je povest v verzih, vendar se pomembno oddaljuje
od byronovskega zgleda – ki ga je Prešeren, kakor dokazuje prevajalski fragment Parizina, poznal – prav po
tem. Sestavljenost Prešernovi pesnitvi omogoča vstop v lirski kontekst Poezij, v katerem deluje kot zgodbena
prispodoba. Za takšno jo dela posvetilni sonet, ki govori tudi o korespondiranju osebne izpovednosti z
občutenji, tematiziranimi skozi zgodbo. Pri tem se poslednji verz izkaže za ključnega. Krst pri Savici je bil
razumljen na mnoge, tudi povsem nasprotujoče si načine. Sestavljeni tekst sam to do neke mere omogoča
– zlasti z izpusti posameznih delov iz interpretacije –, vendar pa se o avtorjevem stališču in razumevanju ni
mogoče motiti. Posvetilni sonet in sklep pesnitve sta dovolj jasna. Prav zato je povest v verzih tudi mogla
skleniti Poezije.
Ključne besede: France Prešeren, povest v verzih, sestavljenost
IGOR GRDINA, RESEARCH CENTRE OF THE SLOVENIAN ACADEMY OF SCIENCES AND
ART, SLOVENIA
THEY WOULD MEET NO MORE IN THIS WORLD
Despite being initially printed separately in 1836, Prešeren’s Krst pri Savici (The Baptism on the Savica) finally –
in 1846 - became an integral part of Poezije (Poems). At the same time, this long poem is itself a composition
of different parts. In terms of genre, it is a verse narrative, but it deviates significantly from Byron’s model
- which Prešeren, as the translation fragment of Parisina shows, was well familiar with – precisely in this
aspect. The compound structure of The Baptism enables it to be integrated into the lyrical context of Poems,
where it functions as a narrative allegory, which is primarily due to the homage sonnet. The latter suggests a
correspondence between lyrical personal confession and the feelings thematised in the story. The last verse of
The Baptism proves to be crucial in this respect. The Baptism on the Savica was understood in many different,
even completely contradictory, ways. To some extent, the composite text itself allows this, - especially when
we omit particular parts from the interpretation - but the author’s position and understanding cannot be
mistaken. The homage sonnet and the conclusion of The Baptism are clear enough. This is also the reason why
a verse narrative could conclude Poems in the first place.
Key words: France Prešeren, verse narrative, composition of the poem
17
