Global Journal of Human Social Science, G: Linguistics and Education, Volume 22 Issue 9

types of the irrational that Urošević practices, the oniric imagination has an exceptionally privileged status. It is enough to see the titles of separate poems to notice the frequency of the motives of night and dream in his poetry. Understandable because the miraculous, whose great admirer he is, exists in dreams and fantasy: “Where does the wave take her and who makes her eyes widen / what sight does she see, what wonder – seventh, eighth?” – the lyrical subject in the poem “A Sleeping Woman” ( Star Scales / Ѕвездена терезија ) is curious, subtly alluding to the abundant miracles that are hidden in the plentiful layers of the dream understood as “another life” (Gérard de Nerval). The dream, undoubtedly, is poetic, but this author, according to his recognition, strengthens its poetic qualities consciously, using the language of symbols inherent to dreams. Urošević is a rare poet that knows “the secret of the dreamers”; his dreamer “toward the core of secrets sails” (“Night Sail,” The Dreamer and Emptiness / Сонувачот и празнината ) and “the dreamer unites with the unknown / feverishly in love” (“The Fall of Night,” The Dreamer and Emptiness ). The Unknown is the common denominator of the dream and of another very frequent thematic and leitmotif attribute in the poetry of Vlada Urošević – the sea , that “sleeping horizon.” “In my poetry, the sea has the role of a dream about free spaces, about touching the unpredictable, traveling towards the unknown,” – he explains. 10 The summer, according to him, also symbolizes freedom, becoming engulfed in adventure, dismissing the established order, and discipline. Slobodan Micković 11 10 В . Јанковски , Огледало на загатката (conversations with Vlada Urošević), op.cit., p. 113. 11 С . Мицковиќ , Опсесиите и фасцинациите во поезијата на Влада Урошевиќ . Разгледи ( ХХХ ), 1988, февруари - март , No. 2-3, p. 137-144 ( тематски број : В . Урошевиќ ). , in one of his studies dedicated to Urošević’s poetry, he interprets the summer as an atmosphere (dominant in The Invisible Land / Невиделица , Summer Rain / Летен дожд , etc. and in certain poems in Indiscriminate Laboratory / Безразборна лабораторија ) in correlation with the Mediterranean landscapes, fragrances and colors, and with the sea in general. Sensing the closeness of the sea or its presence is especially significant to our poet, such as in the poem “Sensing the City” ( Summer Rain ): “Salt smells from somewhere,” “I stand on the city square, and I hear the voice / of the sea, a hundred and one sea miles away.” Regarding to the mentioned rhyming between the dream and the sea, the final verse of the poem “A House Surrounded by Ripe Wheat” (outside of the collections, 1980) is illustrative: “A house the man sleeping in, says in his dream: ‘Sea,’” and especially the end of the poem “The secrets of the City” (outside of the collections, 2004): “... from the small boat, / above the bed in the corner of the child’s room, / it smells of vanilla, canella at night, / the sea splashes and ties the world together.” The poet wanders with the “compass of the dream” through the landscapes of the oniric on a microcosmic level. But he uses another favorite instrument, the astrolabe, to make a daring journey towards the stars and space (macrocosm). Concerning the dichotomy between micro- and macrocosm, Urošević’s line of thought is close to the idea of Paracelsus (and other great masters of esoteric sciences, especially alchemy) about their mutual unity, which results in the possibility of identifying the infinitely small with the infinitely large. Understanding poetry as “a kind of essence of the spirit,” a “sudden cognition” that “each grain of sand is, in fact, a cosmos” (”To see a World in a Grain of Sand,” says William Blake), this poet wants to point to the presence of the miracle both up there and down here: “In each fruit a star hides”; “fruits are planets, the light – their juiciness”; “What space flight aim to discover is hidden in the content of the fruit” – we read in the poem “Star Orchards” ( Star Scales ). Through the stars, announced with the poem “Southern star” ( The Invisible Land / Невиделица ), a link is established with the scientific miraculous that this poet shows affinity to, by the cult towards knowledge that he cherishes so unselfishly, and with interest for astronomy and the new scientific discoveries in general. According to the statements of Urošević himself, this is another fascination from childhood. His encounters with books dedicated to celestial mechanics and the secrets of the universe resulted in a taste for the poetic sence of science. “Vlada Urošević i s one of the rare poets (...) who introduced into poetry the miracle of the scientific epoch, not only of ‘science fiction,’ but also of our ordinary life. Reality could be more imaginary than fiction” – Francis Combe writes in an impassioned essay, and continues: “His ‘Poems for XXI Century’ ( Mane, Tekel, Fares ) are almost prophesy. They announce the risk of seeing how life on Earth ends: the burial of a lake, the space tree that no longer gives fruit, the plastic planet with sulfurous flowers, etc. A world in which all beautiful things are under threat. ” 12 In these and in many other warning and dramatic verses in which phantasmagoric visions and In poems of this kind, the poet becomes a proponent of a type of bioethics: Whether due to pesticides or other inventions they are less and less among us, as you may have well noticed: as are, in fact, all other beautiful things that have silently been proclaimed unnecessary ornaments. (“Butterflies,” Mane, Tekel, Fares ) 12 Ф . Комб , Франсис , Шумата на чудата на Влада Урошевиќ . В . Урошевиќ , Во соработка со сонот . Скопје , МАНУ , Фондација Трифун Костовски , 2014, p. 9-10 (translated by: В . Мартиновски ). © 2022 Global Journals Volume XXII Issue IX Version I 26 ( ) Global Journal of Human Social Science - Year 2022 G Poetry as Playfulness and as Riddle (On the Poetry of Vlada Urošević)