7
EfllIITUHfl, "pHWTH"", VIII/1997/8, 39 - 45. UDK 886.1:165.82 Iiyuuu« HBAHH'li BPAHHCJIAB HYJDH'li H nOETHKA PEAJIH3MA 1 IIoBOAOM Hymahesor pana Y cprrcxosr KOH3yJIaTY aa KOCOBy ayrop noncjeha aa MYKOTpllHO npo6HjaH>e osora nacna AO yraena H nonoacaja KJIaCHKe cpncxe rrareparype. Hanasa Aa je Y3POK nornjersaaaesy OIIIIITH TeopHjcKH CTaB npeMa y JIHTepaTYPH, noce6Ho ypeaJIHCTuqROCT OBor CTRJIa. AYTop, HanpOTHB, csrarpa Aa cy HHCKOMHMeTCKH aCneKTH KOMBKe npa- pO;n:HH HOCRJIan; peaJIHCTuqHOCTH. Hynmh je, nrraname, y paHHM KOMeAHjaMa amao ynpaso sa OHOM mnmjOM peaJIH3Ma xoja je aKTHBHpaJIa nOJIHTII'IKe TeMe y KlLIDKeBHOCTH, THMe yKJLyqyjyhH H APyre xareropaje noeraxe peaJIH3Ma (THIIlPIHO, csaxomreaao-npocje-rao, penpe3eHTaTHBHHjYHaD;H H IbHXOBH MebyoA- HOCH, <ppa3eOJIOrHja, BIDKHe caapeueae TeMe, KpHTll'IHOCT xoja RAe xa pasapassy HJIy3Hja H 06MaHa). K.fbYlf.lle peuu: EpaHHCJIaB Hynmh, noeraxa, peaJIH3aM O;n;HOC rrpesra njeny EpaHHCJIaBa Hynnrha y cpncxoj KlbIDKeBHoj KPHTHQH H KlbIDKeBHoj HCTOpHjH He MO}Ke ce ;n;o6po pa3YMjeTH aKO ce 1 IIpHWTHHa lIMa pasnora ce IIOHOCH Hynraheaau 60paBKOM y !Loj, je 3a qHHOBHHKa MHHHCTapCTBa OHa 6WIa MjeCTo rrOJIHTIftIKOr H3rOHa: IIOCJIHje noscapesa-rxor aarsopa, 360r yspene xparsa Manana JInqHO, HyIIIHh je xao CHTaH qHHOBHHK ynyhen aa aajresce rypcxe BJIaCTH, OIIOpHX Apaayra H 3anyIIITeHHX H ycaxor.eaax Cp6a. Y IIOTIIYHOj OCTaBH eraorparpcxe CIIHce 0 06nqajHMa H Cp6a C onor nonpysja (KOCOBO: oiiuc 3e.M.lbe U uapooa, I, H. Can, 1902; II, H. Can, 1903; - Kn.are Marane cpncxe, 6p. 6, 9), je y nyrormcy C KOCOBa ua cutee Mope: tieneuoce C uyilla Kp03 Aptiauace 1894. 200uHe (Brn., 1902) nosesao casre er3HCTeHIJ;Hje H npen;H3HOCT HeIIpHCTpaCHe, ornopene H H3Y3emo 3aHHM.JbHBe oncepaanaje. Ycrrao je TaKol}e )KHBOT Cp6a y IIpHIllTHHH, ojaxa IbHXOBa .KyJITypHa aacrojaa,a H OCMHCJIH IIIKOJICKe CBeqaHOCTH CBeTocaBCKOM 39

Dušan Ivanić - Branislav Nušić i poetika realizma

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Page 1: Dušan Ivanić - Branislav Nušić i poetika realizma

EfllIITUHfl, "pHWTH"", VIII/1997/8, 39 - 45.UDK 886.1:165.82

Iiyuuu« HBAHH'li

BPAHHCJIAB HYJDH'li H nOETHKA PEAJIH3MA1

IIoBOAOM Hymahesor pana Y cprrcxosr KOH3yJIaTY aa KOCOBy ayropnoncjeha aa MYKOTpllHOnpo6HjaH>e osora nacna AO yraena H nonoacaja KJIaCHKecpncxe rrareparype. Hanasa Aa je Y3POK nornjersaaaesy OIIIIITH TeopHjcKH CTaBnpeMa KO~ y JIHTepaTYPH, noce6Ho HenO~epeH>e ypeaJIHCTuqROCT OBorCTRJIa. AYTop, HanpOTHB, csrarpa Aa cy HHCKOMHMeTCKH aCneKTH KOMBKe npa­pO;n:HH HOCRJIan; peaJIHCTuqHOCTH. Hynmh je, nrraname, y paHHM KOMeAHjaMaamao ynpaso sa OHOM mnmjOM peaJIH3Maxoja je aKTHBHpaJIa nOJIHTII'IKe TeMe yKlLIDKeBHOCTH, THMe yKJLyqyjyhH H APyre xareropaje noeraxe peaJIH3Ma(THIIlPIHO, csaxomreaao-npocje-rao, penpe3eHTaTHBHHjYHaD;H H IbHXOBH MebyoA­HOCH, <ppa3eOJIOrHja,BIDKHe caapeueae TeMe, KpHTll'IHOCT xoja RAe xa pasapassyHJIy3Hja H 06MaHa).

K.fbYlf.lle peuu: EpaHHCJIaB Hynmh, noeraxa, peaJIH3aM

O;n;HOC rrpesra njeny EpaHHCJIaBa Hynnrha y cpncxoj KlbIDKeBHojKPHTHQH H KlbIDKeBHoj HCTOpHjH He MO}Ke ce ;n;o6po pa3YMjeTH aKO ce

1IIpHWTHHa lIMa pasnora ~a ce IIOHOCH Hynraheaau 60paBKOM y !Loj, M~a je 3aMJIa~Or qHHOBHHKa MHHHCTapCTBa OHa 6WIa MjeCTo rrOJIHTIftIKOr H3rOHa:IIOCJIHje noscapesa-rxor aarsopa, 360r yspene xparsa Manana JInqHO, HyIIIHh jexao CHTaH qHHOBHHK ynyhen aa aajresce rypcxe BJIaCTH, OIIOpHX Apaayra H3anyIIITeHHX H ycaxor.eaax Cp6a. Y IIOTIIYHOj OCTaBH O~JInqHe eraorparpcxeCIIHce 0 06nqajHMa H TPa~HIJ;HjH Cp6a C onor nonpysja (KOCOBO: oiiuc 3e.M.lbe Uuapooa, I, H. Can, 1902; II, H. Can, 1903; - Kn.are Marane cpncxe, 6p. 6, 9), ~OKje y nyrormcy C KOCOBa ua cutee Mope: tieneuoce C uyilla Kp03 Aptiauace 1894.200uHe (Brn., 1902) nosesao Y36Y~.JbHBOCT casre er3HCTeHIJ;Hje H npen;H3HOCTHeIIpHCTpaCHe, ornopene H H3Y3emo 3aHHM.JbHBe oncepaanaje. Ycrrao je TaKol}e~a Mo~epHH3yje ~PYIIITBeHH )KHBOT Cp6a y IIpHIllTHHH, ~a ojaxa IbHXOBa

.KyJITypHa aacrojaa,a H OCMHCJIH IIIKOJICKe CBeqaHOCTH CBeTocaBCKOM npHpe~6oM.

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Page 2: Dušan Ivanić - Branislav Nušić i poetika realizma

If3Y3My OTIIIlTHjH OKBHpH IIOeTHKe peaJIH3Ma H a.eaor TYMaqeIba y HaYU;Ho KIbIDKeBHOCTH. Je)J;HO O)J; n03HaTHX H aajnenrhe n;HTlIpaHHX onpebersaMO)J;epHOr peaJIH3Ma nornste O)J; Epnxa Ayep6axa (498): II 036HJbHOoopabaaaa,e CBaKO)J;HeBHe crsapaocra, ycnon rrrapax H cOD;HjaJIHO HIDKHXJby)J;CKHX rpyrra )J;O o6jeKTa np06JIeMaTCKo-er3HCTeHD;HjaJIHOr npHKa3H­natsa Cjenae CTaHe H yxnanarse npOH3BOJbHO-CBaKo)J;HeBHHx JIH~OCTH Hnorahaja y OIIlllTH TOK cyspexrene acropnje H HCTOpHjcKH )J;HHaMH~a

n03a)J;HHa C npyre crpane - TO cy, KaKO sepyjesro, TeMeJbH MO)J;epHOrpeanasva". Te OC06HHe Ayep6ax he Y3 onpebene MO)J;HepHKaWljeIIOHOBHTH H na npyrasa MjeCTHMa csoje KIbHre, HCTHqJlhy na MO)J;epHHpeaJIH3aM nacraje TaMO rnje ce II CBaKOAHeBHO CTBapHH norahaja H3HHCKor cOWljaJIHOr cnoja, CHTHOr rrpoaaanajcxor rpahaacrsa, Y3HMajyseosra 036HJhHO II H KaA cy "cBaKo)J;HeBHH norahaja TaqRO H Ay6oKoYKJIOIIJbeHH y onpeheay CYBpeMeHo-HCTopHjcKy enoxy" (492); osornpoysaaaa,a KIbIDKeBHOCTH je y uajenoj CTYAHjH 3aHHMJbHBO mrraa.e "naKOjH cy HaqJIH H y KoMe ereneay peaJIHCTHqKH npemrera 06pal)HBaHH036HJbHO, np06JIeMaTCKH HJIH TParHqHOII

, 3aTO je H Y3HMaO xao rrpavjepeII peaJIHCTHqKa AeJIa o36HJbHOr CTHJIa H xapaxrepa II, a KOMn:qHa njena,"oaa KaKO HecyMIbHBO He H3JIa3e H3BaH 06JIaCTH HHCKor CTHJIa ll (565),OCTaBJheHa cy H3BaH aHaJIH3e.

Mana TaKaB CTaB CTHJICKH H }l{aHpOBCKH orpaaaxaaa oncerpeaJIH3Ma, OH je rOTOBO H3pn:qHTO yrpabea II y nporpasrcxe H)J;eje OBeenoxe y cpncxoj KIbIDKeBHOCTH (CBeT03ap MapKoBHB, IIepa TOAOPOBHh)MaHHepeCTH peaJIH3Ma KpHTHtIKH H np06JIeMCKH aCIIeKT KIbIDKeBHornjena peAOBHO nocraarsajy y IIpBH nJIaH (HBaHHh). TaKBe Te3e cy osnrropeAYKD;HOHHCTHqKe, H casta HX je KIbIDKeBHOCT 6P30 ocrropana, aJIH jeyrrpaso OA IbHX (H3PHqHTO HJIH rrpehyrno) IIOJIa3HJIa H KIbIDKeBHaKpHTHKa H acropnja KlbIDKeBHOCTH, IIoBe3yjyBH ce rrpa TOMe ca CTapOM,KJIaCHD;HCTHq}{If opnjearacanov xajepapxajosr }l{aHpOBa H CTHJIOBa.Hcxon Te aese 6I1o je HenOBOJbaH cyn 0 roeJIHMa )J;OMHHaHTHO KOMHtlHOrCTHJIa: 06pa3JIaraH je MalbKOM peaJIHCTHqHOCTH (xoja ce CXBaTa xaoeKBHBaJIeHT 036HJbHor) HJIII HIICKHM, HeyrJIe)J;HHM }l{aHpOM. C OApel)eHHMMOAIIepHKaWljaMa, TaKaB cyn nparahe He cauo BpaHHCJIaBa HyIIIHhaHero II CTeBaHa Cpesma, a npaje lhHX KOCTy TpHepKOBHha, ocrasn.ajyhaTpar H aa npzjesry KOMe));Hja JOBana Crepaje IIOIIOBHha. OqHTO, jenaa 0));aajsaa-rajrrjax cnojeaa cpncxe nareparype yorrurre. (Taj O));HOC ceonpaxcaaa H aa Malbe rracne, xao IIITO je HJIHja Orrsaaoaah A6yKa3eM, Haa MeAHje, xao nrro cy CaTHpJiPIKH H XYMOPIlCTHtIKH qaCOnHCH).

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Page 3: Dušan Ivanić - Branislav Nušić i poetika realizma

3aHHMJbHBO je ,n;a TaKBOj KpHTHWf aehe CMeTaTH XyMOp CRMaMaranyrsa (Baxotea ppa Bpne, nnp.) HH XyMOp carapasme rrpose PanojaAOMaHoBHha. TaKaB O,n;HOC ce na pasysrera H3 npyror Te}I{HmTa noeraxepeanassra, xoje 6H ce Morno onpenara xareropajasra otijetciiuieusauuje U

«puiiiuunociiiu, YKOJlHKO je XyMOp YKJlOrrJbeH y erancremrajanaecrrryauaje yOKBRpeHe 06jeKTRBHOM rrepcrreKTHBOM, KaKO ce nenraaa yMaranyrsa, npaxsaraa je xao caCTaBHH ,n;HO CJIHKe peanaor }l{HBOTa. AnaaKO je XyMOp rrpOH3BO,n; CIIHCaTeJbCKe xoncrpyxnaje, arpe, HaMjemTaja (acajaa xosrenaja je KOHCTpyKI.J;Rja BHCOKor creneaa), Y3HMao ce xaoHaCHJbe Ha,n; craapaomhy, saasrerscxa npasaa nrpa. YKOJlHKO je, y3 TO,CJIy)KRO same crnaparsy csrajexa Hero KpHTHWf onpebenax onaoca,nncny naje 6HJlO orrpannatsa. Kao IllTO je rr03HaTO, CTeBaH Cpesrau HEpaHHCJlaB HyUIHh CBOj XYMOP crsapajy aa ,n;Ba aasaaa: KOHCTp~HjOM~paMCKe pamse (Hynrah) H jaxoxs YJlorOM "pescacepa", ayropcxornpanosjenana, ayropcxor ja xoje ce nojaarsyje xao KOMeHTaTOp Hnocpenanx R3Mel)y csajera TeKCTa H csajera xaraona. Taxo cxsaheaacy6jeKTHBH3a:U;Hja KOMRqKHX CTpyKTypa OTe)KaBaJIa je noaaarse TeKCTaxao peanacra-ncor R H3a3HBaJla HerrOBOJbHRje spenaosaa,e.

Tnenajyha aa OBO nararse Cnpyre crapne, xax y3HMajyhH y 06311P Hrpahy xojy je ooyxaarao Ayep6ax, HHCKOMHMeTCKH acnexra KOMIIKenpaponaa cy HOCHJla~ peanaassa. Morno 6H ce CJI060,n;HO peha ,n;aKOMe,n;Hja y rrojananosr, KOHD;eHTPHcaHOM crerreay onrosapa OCHOBHHMTe)KHIIITHMa noeraxe oaor TIIna JlHTepaTYPe. CaM Hynrah je ynpenrosopaua CBOjHM .n;jeJlHMa aa npso MjeCTo CTaBJbaO KpllTWlKH O,n;HOCrrpesra JbygCKHM CJIa60CTHMa H H30naqeHOCTHMa xao rJlaBHH QIDb,

narnanrasajyha THMe CBOjy aHra)J{OBaHOCT. 3aHHMJbHBO je HIIaK ga HHBeJlHKR npeoxper y rrosopanraoj cyg6HHH Hyurahese xossenaje H yIbeHIIM apemrosaisaaa (OHa je aanpano nocrana IIIHpOKO nonynapaaH3Mel)y rrsa csjercxa para), naje 113a3Bao TyMaqelba ca CTaHOBHIllTaerroxe y KOjOj ce gap onor KOMegHorpaepa 06J1HKOBao. Y MOHorpaepHjHMHJleHKa Macaanonaha peanaaast aaje 06yXBaheH HH y aHaJIH3H HII y06RMHOM peracrpy nojsrona, HHTII ce OBO nararse pacrrpaarsa y erynajaJOCHrra JIeumha Hytuuhee cuujex. YKOJlHKO ce gOTHqe, OAROCH ce aarrOJlHTHqKY H APYIIITBeHY CTBapHOCT xao oxpyscerse ayropa, He H aa caMTeKCT (arrp. y CTYAHjH Berrafiopa Trraropaha).

Mel)yTHM, He 6H 6HJlO nperjepano yCTBPAHTH na je MaJIO cpncxaxpeanacra TaKO nocrsenao acrryssasano npernocrasxe noeraxe peaJIH3Maxao Bpaaacnas Hyurah y KOMe,ll;HjH H gpaMH yormrre. Ilposaana cy

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Page 4: Dušan Ivanić - Branislav Nušić i poetika realizma

YJIa3lfJIH y rpanracrnxy, aneropnjy, yronajy, 6ajKoBlfTe 06JIHKe, }l;OK}l;paMCKH rracan TeIllKO 1f3JIa31f 1f3 rrpOCTOpHO-BpeMeHCKlfX O}l;HOCaCBaKO}l;HeBlfIJ;e, csajera peaJIHOCTH. Ilpyro, y panaa KOMe}l;lfjaMa, xoje rronpsasr sepsajaxra nora-ry H3 cpenaunser najena erroxe peaJIH3Ma(Hapoouu UOC.fWHUK, CyMlbUBO nuue H Ilpotuetcuujay, Hymah ce aauraona oaoj JIHHHjH Te erroxe xojy je Cxepnah seaaaao sa rrpo}l;0prrOJIHTHl.JKHX TeH}l;eHIJ;Hja y KlbIDKeBHOCT. CBe Te xosrenaje IfMajy H3BjecHYTHrrlflIHOCT y TeMH, rrpOTarOHHCTHMa, OKOJIHOCTlfMa, y OHOM CMHCJIy xojace 06Hl.JHO ycnocranrsa y xovenaja: jyaaua cy ropa (rrocetiao rJIaBHIfjyaax) on npocjexaax caspexreaaxa, aJIH TeK on TpeHYTKa xan nanny y"KOMlflIHY rpenrxy". ORB gOTJIe sayamrajy cTa6lfJIHO MjeCTo aanpynrraenoj JheCTBHn;H. Hynrah y nanacxarrajaua If aTpH6YTlfMa jyaaxaynpaso HHCHCTHpa na TOj rrpocje-tao-csaxonaeaaoj (nananasxoj,rpahaacxoj) arxrocrpepa If xoncrenanaja epHrypa xoja onrosaparpahancxosr (nopona-raov) H "tllfHOBHH"t.IKO-TprOBa"tlKOM )J{HBOTy. Beh TaOKOJIHOCT IIITO H ynrah IfHCHCTHpa aa o61f"tlHOM, cBaKogHBHOM )KlJBOTyxao npenuery caor rr030plfIIITa (H}l;yhH sa KOCTOM TpHepKOBHheM)yxasyje na aasjecay uanpeheuocr ayropa TaKBOM CBHjeTy H lberOBHMjynanaaa. llpOH3BO}l; Te nanpeheaocra je THIIlf3aIJ;Hja, a C lbOMcxeaaraaasr If orrlIITOCT xoje csajery If jyHaIJ;HMa He najy }l;a ceocaMOCTaJIe HJIH na 1f36jerny HpOHH"t.IHY rrepcnexrany (y OHOM CMHCJIyKaKO 0 O}l;HOCY jyaaxa If ayropa roaopa EaXTHH). Ilocrynax THIIH3aIJ;Hjece 06JIHKyje )J{aHpOBCKIf (xonenaorparpcxa) Te otiyxaara CBe KJhyqHeKOHCTeJIaIJ;lfje epHrypa (srajxa / hepxa / oran, njesojxa / MJIa}l;Hh, xaneraa /l.JHHOBHHIJ;H, arn), OHaKo KaKO Hoprpon <I>paj (186) xazce aa xossenajy ­}l;a HMa orsopeaocr xoja joj osroryhyje ga yxpane MeTO}l;y og Monajepa aJIHKOBe on )J;HKeHca. Ynpaso TO je Hynrah - rseroaa jyHaIJ;H cy KOMHqHeepHI'ype (MaCKe BJIaCTH H HOBn;a) ycanpene y caBpeMeHOCT (TprOBaIJ; "cperrost" H "rryrepoxr aa rJIaBHIt xao nOCJIaHHYIKIf xannanar, nOJIHIJ;HjCKHxaneraa KOjH je It safiprsao It orsapajyha Tyi)a nHCMa). CBaKH jynax3aY3HMa TaKBO MjecTO}l;a csajer njena onpascaaa O}l;HOC onpeua MOrylrnMacneicraaa CTBapHOCTH If npexa MoryheM, nperroaaarrsaaosa csajerycaBpeMeHOCTH. Ca CTaHOBHIIITa rroeraxe peaJIH3Ma jour je Ba)J{HHje IIITOje lbHXOB rOBOp KOHn;eHTpaIJ;Hja OIIIIITHX MjecTa (rppaseorasaaa), BjeIIITOYKJIOrrJheH y omroce Mei)y JIHKOBHMa H y TOK pamse. AJIH KOMHqHOCTTora rosopa He }l;OJIa3H, HapaBHO, on THIIH"t.IHOCTH no ceria seh on lberOBeaYTOHOMHe KOMHKe HJIH KOMHqKOr KOHTeKCTa. Ba)J{Ha HoBHHa y Hyurahajecre novjepan,e HarJIaCKa ca naxa-rparype (xnacaxaa xosrenaorperpcxa

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Page 5: Dušan Ivanić - Branislav Nušić i poetika realizma

resea) na JIHK-TeMy: HHCy Jeapesr IIpoKHh II Jepornje IIaHTHh TOJIHKOBa)KHH KaO rrpenpexe ynaja CBojHX xhepa Ben xao rrojane y rrOJIHTHl.{KOMH ,n;p)KaBHOM )KlIBOTy. Kao xroryha aaponna rrOCJIaHHlJ;H H rrOJIHIJ;HjcKHl.JHHOBHHn;H, CnpoTOTHrrOBHMa y )KJIBoTy. Y3Me JIH ce, nnp., rasna Jeapexry yxynnocra TeKCTOBHHX Ha3HaKa, xao cxyn aapajaunja xoje cencnorsanajy y pa3JIHl.JHTlIM cueaasra H KOHTaKTlIMa, npasrajerahe ce KaKOje pacrroH JIHKa ynanrsns: rOBOpJhHBH Yl.JeCHHK nsfiopa, rrOCJIaHHl.JKHxannana-r, oran H My)K, 3eTOB nporasxaananar, TproBan; C <pJIeKOM aaMOpaJIHOM JIHKy, Heo6pa30BaH rpahanan H HalIBHH arnrarop, a KOHal.{HOTaCT xoja ce TjeIIIlI ,n;06lITKOM y rropona-nroxr )KHBOTy. YTHcaK na cy THJIHKOBH rrOBpIIIHH HJIH KapHKaTypaJIHH He pcsrern IhHXOBy peaJIHCTHl.JHO­CT, perrpe3eHTaTHBHOCT H npanannocr cnojy. A pyacae H CMHjeuIHecrpane crnapnocrn cy rOTOBO HCTO TOJIlIKO pearme H ysrecrayjy y HCTOpH­jCKlIM npouecaera xao H o36lIJhHe.

Yrncax na je HyIIIHn eTHtIKH neaaaarepecosaaa JIHl.JHOCT TaKolje jeHaHOCHO nrrery IherOBOM yrrreny y KIhH)KeBHoj KpHTHn;H. Mebyraa,lICTHHa je na caCBHM npyroj CTpaHH. Ben on Hapoonoi UOC./WHU1<:a

HyIIIHn je canpesreaax He caxro cnora ,n;o6a Hero H 6y,n;ylrnx spesreaa, CBeno Hac: n.erosa jyaaua csra'rpajy na cy Ka)KIhHBa, HeMOpaJIHa njena Hnpexpuiaja eJIeMeHTapHIlX rpahancxax H 3aKOHCKHX npasana HOpMaJIHerrojase (Bnha, )KlIKa, Jepornje, Jenpexr IIpoKHh H np.), a Ka3Ha rrponasaanerrorona: llITO no-nmanau on npexpuraja HMa BHIIIe KOpHCTH, TO jerrpexpnraj npennaja nasose, a npexpnranan nourrosaa,a. IlpexpnrajHOpMH je ypanyaar xao rrpano JIHtIHOr mrrepeca aa panya npacase: 3aTOP;OMHHHpajy rtoxsapetsana, rrOBe3aHH C KpHMHHaJIn;HMa H JIOn~aMa. OnTora no )J,OMaHOBHna nexra HH xopax: )J,OMaHOBHh je casro CBY 3eMJhYCrpannjy HaCeJIHO Jhy,n;HMa H3BaH snpasor pasyua H HOpMaJIHOr noassaa.acanjera, a nopesaeheae BpHje,n;HOCTH npencranao xao CHCTeM, ,n;OK HyUIHhnopevehaj TeMaTH3yje xao THnHl.JHY MoryhHoCT. KOMHKa jecre 3aHynraha Hal.{HH na ce y6JIa)Ke cypOBOCT :>KHBOTa, aJIH OHa aaje npHKpHJIaHaJIHl.Jje Tora )KHBOTa.

)J,OK y KJIaCHl.JHHM ,ll;paMCKHM (KOMe}l;Horpa<pCKHM) TeKCTOBHMa najeTeiliKO ycrrocrasara nyny Be3Y C rroeraxosr peaJIH3Ma, 0 TOMe jenOTpe6HO onpeaanje roaoparn rroaonoxr Hymahesax n03HHjHX njerra Hrseroae rrpose. Ilajyha npemrocr KOHCTPYKJ.UIjH, MOHTa)KJI, aYTopCKOM ja,Hyunrh craapa TeKCTOBe xoja no nocryrnnoaa 06JIlfKOBalha aanase H3BaHpeaJIHCTHl.JKe TeXHHKe, aJIH aa TeMaTCKOM HHBOy, y nerarsy, y MOTHByHJIH Y uajerroj npaxa xoja ce CKJIana aa xpajy, ouprasa ce nOROBO OHO

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Page 6: Dušan Ivanić - Branislav Nušić i poetika realizma

IlITO ce noraha y csajery cnaxomreaaue (anp, "JeAHa npaxa CaCTaBJbeHaMaKa3aMa"), HaKO OKBHp onrosapa )l(aHpOBcKoj rpananaja (naponaja,xapaxarypa, carapa, aneropaja). Y CTBapH, y CBHM HynraheaaxrTeKCTOBHMa liMa MHoro orrora IlITO je KOHBeHIJ;Hja zcaapa: TO je yIIpHpO):(H KOMHqKOr pHTMa xoja CTHJICKO-){{aHpOBCKe KOHBeHIJ;Hje casrorrpanarohasa H3BjeCHHM Te){{HIlITHMa enoxe, xao IlITO ce ):(o6po BII):(Hyrropehaaarsea JOBaaa Crepaje Ilonosaha II BpaHHCJIaBa Hynmha.JeAaH je KJIaCHIJ;IICTH~ a npyra pearrHCTHqKII rracan: KO):( Crepaje aaII030PHHHU;y H3JIa3H xapaxrep, y Te){{IbH xoja MO){{e 6HTII ormrrersyncxa,ana y HHTeH3I1TeTY xoja je CaCBHM H30JIOBaH, JIHqaH. Crepajaxostenaorparpcxa noxasyje 06JIIIKe HCIIOJbaBalba H passoja jenae npre,IIOKoHAHpeHoCTII, nosronapcrsa, npe:qH3HOCTH HJIH IIIKpTOCTH. Hymahyassjecaa Te)l(lba jyaaxa (ssaxap 6HJIa aesaaa II sa IDerOB xapaxrep)CJI~ xao IIOBOA na xosrenaorpadicxa 06JIHKyje ):(pYIlITBeHe rrpHJIHKe Hnapaaa, HIIp. O.IJ;HOC rpahana H nOJIHTHKe, arHTOBaIDe, IIPHpoAY jasnorMOpaJIa,IIOP0):(HqHH )l(IIBOT H arrrepece yayrap rpyrre.

Flosrenyhexro jour jenaa MOMeHaT KOjH assrapyje IIoeTIIKYpeaJIH3Ma II noeTIIKY KOMeAHje H U;HjeJIO rrararse aa H3BjecTaH HaqllHnpe6au;yje ua pasaa o36HJbHOCTH aeropajcxe n03aAHHe y jenaojKOMH~Oj pamsa, Kaxo TBPAH Hoprpon «I>paj (193), BeJIHKa TeMaKOMeAHje je II crsaparse II paaaparse HJIy3HjaII. TIo BpJIO KOMlleTeHTHHMTyMa~Ma KlbIl){{eBHOCTH, KaKaB je AejBH):( nOI,I, TeXHHKa peaJIHCTHqKOrrracxra je xao crnopena sa HpOHHjy H pymerse o6MaHa: xan Te CJIHKecsnjera 06JIHKyje jenan xosaenaorparp, OH onopocrn nana 0AY3HMa casroHJIY3Hjy rnenanana Aa cy raj IIaA H36jerJIH, HYAehH HM csrajex Ha):( Tyi)OMrrrynonrhy II rroxnapeaourhy.

Dusan Ivanic

BRANISLAV NUSIC AND POETIC OF REALISM

Examining the Nusic work in the Serbian consulate in Kosovo, the author,reviewed the burdensome way that this writer had to pass in order to reach theposition of one of the most eminent writers of Serbian literature. He founds that thereason of underestimation is the general theoretical attitude towards the comedyliterature, particular distrust in realism of this literature. The author, on thecontrary, believes that low mimic aspects of the comedy are natural bearer ofrealism. Nusic, moreover, in his early comedies, had followed, exactly the line of

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realism that activated the political themes in literature and consequently involvedother categories of poetic realism (typical, everyday - average, representativeleading characters and they inter relations, phraseology, important contemporarythemes, criticism that aims to break up the illusions and deceive).

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