| Abstract | Slamnig je uvijek Slamnig – neponovljiv i kad se ponavlja (Bagić 2001: 225). Njegova je autorska persona sazdana od više instanci, a ovim smo radom nastojali pokazati zašto bi poeta amans posve legitimno mogao postati njegov novi uvriježen nadimak. Kratki izlet kroz točno polovicu njegovih zbirki (Aleju poslije svečanosti, Drontu, Sed Scholae, Relativno naopako te Ranjeni tenk) na primjeru 10 ljubavnih tekstova zorno nam je ilustrirao što to njegove ljubavne pjesme čini autentičnima, a opet toliko bliskima svakodnevnom čovjeku – od bogata figuralnog i retoričkog aparata, eksperimentiranja s androginim lirskim subjektom, vrlo spretnog balansiranja između tradicionalnih oblika i onih sasvim modernih te naglašena dijaloškog usmjerenja njegovih tekstova, do odabira sasvim jednostavnih, ali time i najmoćnijih tema. Kako duž čitavog mu opusa, tako i u ljubavnom spektru, Slamnigova okupacija par excellence svakodnevne su situacije (izuzev pomalo nadrealnih eksperimenata s njegovih književnih početaka) – slomljena srca, srca puna strasti i želje, srca koja tragaju za uzajamnim razumijevanjem, ali i ona ispunjena već zrelom ljubavlju i privrženošću. Bez trunke prijetvornosti, no uz obilatu (samo)ironiju, podrugljivost, ali i nježnost, Slamnig gađa u samu srž ljudskih odnosa i svaki svoj tekst čini i našom osobnom biografijom. Što vrijedi za sve meteore, vrijedi i za Slamniga: čak i dvadeset i jednu godinu nakon autorova odlaska, njegov neobični ljubavni kanconijer progovara nesvakidašnjom svježinom i upravo nevjerojatnom, pa i gotovo frustrirajućom vječnom prikladnošću i primjenjivošću na svaki ovozemaljski romantični odnos. |
| Abstract (english) | Slamnig is always Slamnig – unrepeatable, even when he repeats himself (Bagić 2001: 225). His literary persona is constructed out of several instances. The aim of this paper was to demonstrate why poeta amans could be considered his legitimate poetic nickname. This brief excursion through exactly one half of Slamnig's collections of poetry (Aleja poslije svečanosti, Dronta, Sed Scholae, Relativno naopako and Ranjeni tenk) on the example of 10 love poems has cleary illustrated what makes his love poetry so authentic, but at the same time so close to everyday, ordinary people: from exceptionally rich figural and rhetorical apparatus, experimenting with androgynous lyrical subject, skillful balancing between traditional forms and completely modern ones, through an extremely dialogical orientation of his texts to choosing the most common, but thus most powerful themes. Just like in all of his works, Slamnig's occupation par excellence in his love poetry are everyday situations (except certain surreal experiments from his literary begginings) – broken hearts, hearts full of lust, passion and desire, hearts who seek mutual understanding, but also hearts filled with a mature kind of love and loyalty. Without a grain of pretence, but with an abundance of (self) irony, mockery, and, on the other side, tenderness, Slamnig touches at the heart of human relationships and makes each and every one of his texts our own. What applies to all literary meteors, applies to Slamnig as well – even 21 years after his departure, his unordinary love poems radiate an unparalleled freshness and an incredible, almost frustrating everlasting appropriateness to every romantic liaison in this world. |
