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

apocalyptic situations pulsate, for example: “plastic, oil spots, garbage” (“Library II,” Indiscriminate Laboratory ), Cities on which radioactive rains fall” (“Planet of War”), “Whole continents washed with detergent” (“Plastic Planet”), “...dangerous stars with stings of dangerous light” (“Dead Planet”), “Trains stuck in lakes of tar” (“Landscapes of Silence” ) 13 According to Vlada Urošević, the poetic language must contain “a degree of magic, Zaum.” “To be a poet means to be capable of being astonished by language,” – Claude Roy had said. “Poetry is the highest form of use of language,” – Urošević considers, and, in the style of Stéphane Mallarmé, he concludes: “It’s not the idea that creates the poem, it’s the language that creates the poem. Ideas are, after all, exhaustive.” , the mythical consciousness of the exhaustion of civilization is recognized. Urošević writes about the danger of chaos, destruction and dehumanization of the world (which, paradoxically, is carried out by humans). The new biological, and chemical weapons, as well as the monstrous experiments in the biotechnological laboratories, reshape life on Earth. The current and predicting dimension of these verses is more than evident. Interestingly, Urošević himself recognizes that he experiences the catastrophic poems not only as a warning for the possible destiny of the world, but also as a play of freed imagination. The poetic adventure of Urošević with so me new shapes of the miraculous continues. The magic of language “Some spirits, among them myself, can hardly imagine something beautiful , which would not be, to a certain degree, magical.” André Breton ( Magical Art ) 14 13 The poems: “Planet of War,” “Plastic Planet,” and “Dead Planet” are from the poetry collection The Dreamer and Emptiness . 14 Љ . Спасов , Рудните слоеви на сеќавањето : conversations with Vlada Urošević. Скопје , МАНУ , 2014, p. 131. Likewise, for Paul Valéry (“Poetry and Abstract Thought”), the poet’s task is to create an impression of an intimate relationship between the word and the spirit, which leads to a remarkable result, close to the illusions and the miraculous in ancient magic. In other words, the principles of magic and the principles of poetry meet in the request of a language that will be different from the usual one; it is a “secret language,” as Mircea Eliade would say. Talking about the closeness between magic and poetry as two activities of the human spirit, Urošević says: “The incomprehensible or partly comprehensible words contain the energy of the primordial beginnings. The word still held the close relationship with the object or the action it designated, as well as the possibility of identifying with them. And, therefore, the incomprehensiveness of words strengthens the magic of poetry the faith in their magical power. The child feels it, and the poet sometimes manages to express it.” 15 Don’t these verses sound like incantations? In the style of magic, poetry, too, is “an attempt to express the inexpressible,” – says Urošević. The poem “Ablanatanalba” sublimates his yearning for the miraculous as an ideal, and the magic of the lyrical language game. The idea that words begin as magic, and that through the poetry, they return to magic again is also held by Borges: “There are wonderful verses yet have no meaning. And still, they do have meaning – not for a reason, but imagination” – he says in his Norton Lectures, and explains: “there is pleasure in the words, and, of course, in their rhythm, their music. (...) They don’t mean anything, and they are not created to mean anything, and yet they function. They function as something beautiful. ” One such exceptionally successful example of the symbiosis between magic and poetry in Urošević’s output is the magical palindrome “Ablanatanalba” from the eponymous poem ( Risks of Handiwork ( Ризиците на занаетот )): I pronounce you O abla O natan O alba There is nothing in you, and there is everything (...) A spinning word that wants to give praise to the unutterable Ablanatanalba Ablanatanalba! 16 These views of Borges correspond with some attitudes of Urošević expressed in the text “Ars Poetica”: “Too much rationality harms poetry. For a poem to become and remain poetry, there is a need for a certain dose of irrationality – achieved through playfulness, through accepting coincidence, through association leading from one thing to another, through some kind of word trance, through humor – to reach the areas that no one can reach with the rational approach. ” 17 So, from a linguistic aspect, the poetic adventure of Urošević is based on the belief in the power of speech. Maybe, he insists much more on the suggestiveness of the sound of poetry speech than on its meaning. Macedonian critics consider Urošević to be “an extraordinary verselogue and a rare versification expert,” author of “our most sonorous poems” whose musicality is “rich and abundant,” a poet who The essence of poetry, according to Urošević, surpasses the sensible, rational message, which can be avoided, can be turned around, the poet may play with it, and “that is what makes poetry – poetry.” 15 В . Урошевиќ , Viola arsenica, ( белешки за поезијата ). Скопје , Готен , 2021, p. 7. 16 Х . Л . Борхес , Умешноста на стихот . Скопје , Табернакул , 2014, p. 91-93 (translated by: Т . Сиљаноски ). 17 В . Урошевиќ , Viola arsenica, оп . цит ., p. 48. © 2022 Global Journals Volume XXII Issue IX Version I 27 ( ) Global Journal of Human Social Science - Year 2022 G Poetry as Playfulness and as Riddle (On the Poetry of Vlada Urošević)