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

untouchable quality of phenomena, and reveals the poet’s trust in its secret forces. It is interesting that, apart from the mentioned “reading of the landscape” (the title of one poem), the urban in Urošević’s poetry can also be viewed from a semiotic aspect, as a harmony of signs, as a letter that is read and interpreted. Analogously to nature, the city too is a cryptogram, a coded message or “chaotic manuscript”: Messages flow through the city: tiny flickering sparkles, vibrations, hardly legible signs, a telegraph of chances (...) ... And the entire city is a chaotic manuscript, unpaginated pages, lost connections... (“The Secrets of the City”) What the poet insists on in the indicated verses dedicated to the manuscript, both of nature and the city, is the secret, the riddle, the mystery, and the inexplicable – crucial categories for the biographical/ poetic worldview of Urošević. The poetical image in this poetry is also a riddle, its second crucial component, besides the Euphonia of the verse. “I consider the poetic image one of the most important elements of contemporary poetry. Regardless of whether we place it in a metaphor, comparison, oxymoron” – Vlada Urošević says in the conversations with Vladimir Jankovski, and continues: “I enjoy creating a poetic image, especially if there are elements of wonder, improbability in it, something that conflicts with the laws of logic and with everyday practice.” 21 If the Euphonia in Urošević’s verses can be correlated to the inheritance of Symbolism, the visual is most frequently connected with the techniques of surrealism. “Although surrealism had a great influence on his poetry, that inclination limits this poetry, simplifies it and, eventually, makes it cliché, whereas his poetry is much more abundant, more complex and multilayered,” Or, stated in poetic terms: “The night is dark blue, as the juice of blackberries” (“Dandelion Kites, Dreamers, Night,” The Dreamer and Emptiness ); “Who is that girl over there with her palm/ like green outside landscape over the window?” (“The Compass of the Dream,” Star Scales ); “The cold audibly enters, riding a broom” (“Winter Ceremonies,” Diving Bell ); “the tossed newspaper and the wind hug” (“Picnic Goers,” Another City ); “I exist in the skin of a crystal”; “I exist in the skin of a crystal”; “I exist in the fragrance of a flower,” (“Existences,” Risks of Handiwork ); “Leopard’s skin stretched on the seabed, / its spots moving: a net / in which I lie making drowsy moves / of a clumsy dreamer / stretching in his cage of light.” (“An Afternoon Swim in the Sea,” Mane, Tekel, Fares ). 21 В . Јанковски , Огледало на загатката (conversations with Vlada Urošević), op.cit., p.109. Roman Kissiov rightfully warns . 22 Still, Vlada Urošević has written one typically surrealist poem – “A Night of Full Moon above Skopje” ( Mane, Tekel, Fares ) which is considered the peak of the masterfully constructed analogies. It is one of the longest poems by Urošević (maybe even the longest), which fascinates with the disparity, and intensity of the images themselves, with the unusual, impressive, dynamic, paradoxical and wondrous sights: “This is the Vardar, not the Brahmaputra! / What are Indian temples doing in Skopje?”; “Fish from the Southern Seas swim in the City Aquarium (...) But Skopje / never had an aquarium, / someone yells. So what?”; “The Stone Bridge is not of stone but amber / and ancient ivory, slightly darkened / through the centuries”; “The Daut-pasha’s Hammam offers its twelve breasts to the sky / stretching restfully like Ephesus’s Artemis”; “Surrealism is not dead! / That is the slogan in black letters written on a freshly / whitewashed wall”, etc. “The city is slightly removed: / if someone had a compass / he would be able to see that it now lies beneath the stars. / Nothing is the same” – concludes the lyrical subject. And all of this is the doing of the Moon, which, acting as a stage prop, frequently plays the role of a semantic “cut” (according to Lotman). The Moon’s duty is “to shuffle the cards / of the possible and the impossible.” According to Urošević, the surrealist image does not play a mimetic role. The surrealist image is “a pure creation of the spirit. Each surrealist image wants to be a miracle – a sign of the victory of imagination over reality,” 23 From a stylistic point of view, this poet also uses other techniques (besides the already mentioned association/allusion), such as the metonymic concept or enumeration. For example, the poem “Illusory Landscapes” ( The Dreamer and Emptiness ), is entirely composed following the metonymic idea (although it is not the only one): “Birds with leaves instead of wings. / Mountains with fur instead of snow. / Volcanoes spitting blood instead of lava. / Storms with spasms instead of thunder. Fruits with eyes instead of seeds”, etc. In the poem “Childhood” ( The Dreamer and Emptiness ), the author affirms several common traits of his poetry: depersonalization and absence of the lyrical I (absence of lyricism at the expense of creating atmosphere), cataloging (without the mediation of the verb-temporal forms) and turning point (“The surprise, the deviation – he states. These positions are self-referential, at least concerning the lavish spectrum of images in the poem “A Night of Full Moon above Skopje.” 22 Р . Кисъов , Играта на въображенито митологията на съня и паралелните светове на поета – вълшебник ( Поезията на В . Урошевиќ ). Forward in: В . Урошевиќ , Митолория на съня . София , Ерго , 2013, p. 15. 23 В . Урошевиќ , Машината за шиење и чадорот излегоа во пет часот ( кон поезијата на надреализмот ). Forward in: Големата авантура : францускиот надреализам ( составил и превел ). Скопје , Македонска книга , p. 26. © 2022 Global Journals Volume XXII Issue IX Version I 29 ( ) Global Journal of Human Social Science - Year 2022 G Poetry as Playfulness and as Riddle (On the Poetry of Vlada Urošević)