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

“fascinates with his word puns.” 18 “These poems will enchant you in every sense of the word. With their unusual charm, with their music,” the French poet, novelist, essayist, and longtime editor of Europe magazine – Pierre Gamara has stated, referring to Urošević’s verses. According to Blaže Koneski, “Urošević’s rich vocabulary, exposed in the position of rhyme, is submitted to exceptionally successful sound harmonies. Hence, the contribution of this poet in refreshing the rhyme in Macedonian poetry is obvious, and not small.” The Euphonia of the verse, and the interest in the phonetic aspect of poetry (rhymes, alliterations, associative listings, etc.) are the crucial characteristics of Vlada Urošević’s poetry. Here are a few examples: It’s raining like a woman sleeping, like a child learning a poem by heart, it’s raining like fugitive hiding and weeping it’s raining as if part of the seasons are confused, there’s rain pouring as when love is strong as if in a dream, as if we are in pain pressed by a hill, it’s raining hard and long (“Summer Rain,” Summer Rain ) Nothing has remained, not even knives or strives nor fires or shires or spires or wires nor madness or sadness or darkness or brightness Nothing has remained, not even salt or vault nor keepers or sleepers or hangers or winders (“Lullaby – Dreamguile,” Risks of Handiwork ) 19 In the spirit of the poetic strive for achieving a solid form and Euphonia of the verse, he also writes in the sonnet form, probably the highest artistic model of poetic discourse in general, which is a rare form in The copious “rhymarium” in the creative laboratory of our poet is born, as he explains himself, through a long process of searching for closeness between words, which results in their final sound harmony creating a ray of surprise. Urošević often consciously approaches the act of rhyming words from various areas, and comes to interesting connections that make unexpected effects. Characteristic in this sense is the afterword to the poetry collection Indiscriminate Laboratory ( Безразборна лабораторија ), in which Urošević expresses his dilemmas around the choice of the free verse and rhymed verse. Urošević believes that poetry has no strict rules, and that each poet chooses the path he believes will enable him to attain the desired goal. He writes both rhymed verse and free verse, although, according to the poetic practice, he is more inclined toward classical verse. 18 Г . Старделов , Поезијата на Влада Урошевиќ . Разгледи (XXXIX), 1996, април - мај , бр . 4-5, 109-132. 19 Б . Конески , Блаже , Меѓу јавето и сонот . Поговор во : В . Урошевиќ , Панична планета . Скопје , Наша книга , 1989, p. 83-85 ( двојазично , на македонски и на англиски јазик ). contemporary Macedonian poetry. Miodrag Pavlović characterizes the unique poetic formula of Urošević as an “Oniric Parnassus.” This formula refers to the harmony between the Apollonian and the Dionysian concept as two entirely equitable principles of creation. It is no coincidence that the latest poetic book by Vlada Urošević, Indiscriminate Laboratory ( Безразборна лабораторија , 2019), starting from the title itself, dialectically connects: adventure and order, curiosity for the unusual and the “yearning for a system,” playfulness (freedom) and discipline (“l’art pour l’art”), “creative fantasy” and experience, admiration (ecstasy) before life as a minor big miracle and rational control, a sense of wonder and a cultivated expression and style, singing and contemplation. “I have grown up between those two fascinations: the one with books and the one with natural phenomena. (...) I think that in my experience of the world today, those two kinds of gaining experience are complementary,” – Urošević says . 20 20 Раскажете ми го детството и ќе ви кажам каква личност сте . Интервју со В . Урошевиќ . Вечер , 13.02.2019, p. 17 And indeed: his poetry is a testimony of a fascinating erudition, on the one hand, and on the other, it is completely submerged into the sea of sensory and perceptions. Regarding sensory stimuli on which he insists and through which he experiences life, Urošević has emphasized many times the importance of the change of seasons and changes in nature, of feeling the fragrances, the type of external light, even of tactile experiences, because, although they are seemingly worldly and physical, they open the gates towards metaphysical essence of life, they point to the cyclical movement of life and death. The stimulus of the specific sensory experience of the world has become a pillar of creation. Consequently, the drama that takes place in the poetic laboratory is in harmony with the great drama of existence that takes place every day in the imagined laboratory of nature. In this sense, the collection Indiscriminate Laboratory abounds in especially suggestive verses that show that “the garden” is a kind of “observatory,” that “the flight of the butterflies” can be calligraphy or cryptography, and “the text on the field is palimpsest.” Similar examples are constantly present in Urošević’s poetry: “lichens have their writing rules” (“A Poem about Inscriptions,” A Mannequin in the Landscape ) and “Bushes are syllables / and the speech of the wind stammers” (“A Draft of the Land,” Summer Rain ), “The landscape is a book – unread. / All is writing (regardless of who wrote it)” (“Book – Unread,” Mane, Tekel, Fares ) and “new signs reel in the air pools: the small stars of the dandelion, calligraphic fibers” (“Spring Book,” Diving Bell ); “...only the stars in the sky / and the ants on the earth go on writing the shapes / of an alphabet that no one knows.” (“Mane, Tekel, Fares”) ... Writing of nature suggests an © 2022 Global Journals Volume XXII Issue IX Version I 28 ( ) Global Journal of Human Social Science - Year 2022 G Poetry as Playfulness and as Riddle (On the Poetry of Vlada Urošević)