Město jako „zázračný zápisník“: Římské procházky Milady Součkové. K estetice a poetice básnického obrazu
The City as a ‘Miraculous Notebook’: Walks in Rome by Milada Součková. Towards an Aesthetics and Poetics of the Poetic Image
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http://hdl.handle.net/20.500.11956/115549Identifiers
ISSN: 2336-6680
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- Číslo 32 [26]
Author
Issue Date
2019Publisher
Univerzita Karlova, Filozofická fakultaSource
Slovo a smysl - Word & Sense, 2019, 16, 32, 109-126Source URL
https://wordandsense.ff.cuni.czKeywords (Czech)
Rome, Nicolas Poussin, Goethe, Torquato Tasso, intertextuality, repetition and memory, nostalgia, Řím, intertextualita, opakování a paměť, nostalgie
In April 1960, Milada Součková left her exile in America on a trip to Rome, a trip that would inspire
the poems collected in her fourth book of poems, Alla Romana, published in exile by a Roman publisher (1966). Součková’s time in Rome had a special significance for the poet — the poet in exile and
the poet of exile — representing not only a return to Europe, but more importantly, a revitalizing
return to the world-city of cultural memory. While the city’s architecture plays a leading role in Alla
Romana, the city (and Italy as a whole) is also evoked by references to painters (Poussin, Angelika
Kauffmann, Bronzino, Canaletto, etc.), direct intertextual quotes (Goethe, Chateaubriand, Stendhal,
Byron, etc.), and indirect allusions (Ovid, Virgil, Dante, etc.). Součková’s ‘Roman’ poems thus fuse together past and present, real with imagined pictures, and actual sensory experience with aesthetic
reflections in mirror-like complementarity. Sense impressions evoke memories, or set in motion
aesthetic reflections and intertextual and intermedial relations, in dialogue with foreign texts and
images. The city becomes a kind of ‘palimpsest’ and a Freudian ‘Mystic Writing Pad’ (Wunderblock),
inscribed with experiences, impressions and memories. The actual architecture of the city, combined with other traces of past epochs, literary works and paintings, and transfigured into poetic
images, is again made legible by an aesthetic staging within the poetic text. This poetic strategy is
thematically exemplified by two poems: Torquato Tasso and U Via Appia.