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Na Prv Pogled Ne Mnogu Privle~Ni Za Progresivnata Kvalitativna Razvojna

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Na Prv Pogled Ne Mnogu Privle~Ni Za Progresivnata Kvalitativna Razvojna Naume Radi~eski UDK 821.163.6.09-32"1919/1940" Skopje TRADICIONALNATA OSNOVA I MODERNITE INTENCII VO SLOVENE^KATA KRATKA PROZA ME\U DVETE SVETSKI VOJNI Za obdobje med svetovnima vojnama ni posebej zna~ilna razvojno in kvalitetno progresivna realizacija slovenske kratke pripovedne proze. Postavljene so bile le podlage za njeno modernizacijo. Slovenska kratka proza dvajsetih in tridesetih let je {e vedno opazno navezana na realisti~no prozo Stritarja, Jur~i~a in Tav~arja. Niti dela I. Preglja in F. Bevka, kjer je ve~ religiozno-misti~ne kot ekspresionisti~ne interpretacije nagonskih reakcij protagonistov, niti dela socialnih realistov P. Voranca in M. Kranjca – razen redkih antologijskih stvaritev – ne izstopajo iz realisti~nega okvira in ne dosegajo pripovednega mojstrstva I. Cankarja. O inovacijah v pripovednem postopku ter slogu lahko za~nemo govoriti obizidu novih proznih del J. Kozaka ( Celica) in tistih, ki jih je vgradil v knjigo Maske (1940). Esejizacija kratke proze postane podlaga poznej{e modernizacije slovenske proze. Rezultat takega razvojnega procesa je viden tudi pri V. Bartolu, C. Kosma~u, F. Kozaku, S. Majcnu in drugih. slovenska kratka pripovedna proza, realisti~na tradicija, socialni realizem, inovacije v narativnih postopkih With regard to Slovene short narrative prose, the period between the two world wars is not characterised by any particular developmental or qualitative steps forward, only the laying down of the foundations for its modernisation. Slovene short prose of the twenties and thirties still displays noticeable connections to the realistic prose of Stritar, Jur~i~ and Tav~ar. Not even the work of Pregelj and Bevk, which contains more religious-mystic than expressionistic interpretations of the instinctive reactions of its protagonists, or the work of the social realists Voranc and Kranjc – except for a few anthological pieces – strays far from the realist framework, and fails to achieve the same level as the narrative master Cankar. We can only talk about innovation in the approach to narrative and in style with the appearance of the new prose of Kozak (The Cell) and what he included in the book Masks (1940). The movement of short prose towards the essay forms the basis for the later modernisation of Slovene prose. The results of this process can be seen in the work of Bartol, Kosma~, Kozak, Majcen and others. Slovene short narrative prose, realistic tradition, social realism, innovation in narrative approach Na prv pogled ne mnogu privle~ni za progresivnata kvalitativna razvojna realizacija na slovene~kata kratka raska`uva~ka proza, kako i vo drugite sferi na slovene~kata literatura i kultura, godinite OBDOBJA 23 27 me|u dvete svetski vojni, sepak, ne se neinteresni i kako period na zabele`liv razvoj na ovoj `anr. Ne se neinteresni osobeno kako period vo koj bea postaveni osnovite na negovata zabrzana natamo{na moderni- zacija, {to e, me|u drugoto, vo osobena vrska so pozabele`livoto svrtuvawe na slovene~kite literaturni tvorci kon iskustvata od nekoi za niv dotoga{ pomalku poznati zapadnoevropski literaturi, kako francuskata i angliskata, sintetizirani od golemiot talent na Ivan Cankar, koj im go ostavi vo nasledstvo u{te i «~udniot ritam na svojata re~enica, dotoga{ nenaslutuvanoto bogatstvo od izraznite mo`nosti na slovene~kiot jazik, [...] eden izgraden poetski svet i edinstven umetni~ki izraz: ednostaven, poln so boi, precizen, prodoren, melodi~en» (Wegu{ 1966: 7). Iako u{te prethodno go ima{e prifateno ona simbolisti~ko barawe na nekoja povisoka smisla zad slikata na slu~uvawata, odnosno i po izvonrednoto kvalitativno izvi{uvawe {to go postigna preku iskustvoto na Cankar i na Modernata voop{to, poglednata en bloc, slovene~kata kratka proza na 20-tite i vo 30-tite godini od XX vek sè u{te e vo zabele`liva vrska so, od strana na po{irokite masi na recipienti sè u{te priemlivite, realisti~ki koncepcii na Jur~i~, Kersnik i Tav~ar. Taka e osobeno na tematski, a ne pomalku i na izrazen plan. Dejstveno locirana sè u{te glavno vo selski ambient, glaven vnatre{en dvi`e~ki agens, barem vo 20-tite godini za nea e slovene~kiot rustikalen arhetip. Cvrstinata na taa vrska ne be{e mnogu oslabnata nitu so zabele`li- vite i, sekako, ne nerezultatni ostvaruvawa na verojatno najzna~ajniot slovene~ki raska`uva~ vo desetinata godini po Cankarovata smrt, Ivan Pregeq, kako ni so ostvaruvawata na najplodniot slovene~ki raska`uva~ France Bevk sozdavani vo godinite okolu Prvata svetska vojna. I. Pregeq vo ova vreme, imeno, sè u{te be{e vo dosluh, glavno, so aktuelnata germanska literatura. Vo nego prepoznavame avtor koj postojano i zabele`livo divergira me|u katoli~ko-didakti~kata i gra|anskata literatura i avtor koj be{e dvojno formiran pod vlijanie na slovene~kata katoli~ka literatura i pod dominantnoto vlijanie na vienskiot kulturen centar. Iako negovite raska`uva~ki ostvaruvawa toga{ nosea edna dominantna ekspresionisti~ka oznaka, sepak, Pregeq pove}e se realizira niz religiozno-misti~noto, otkolku niz ekspresionisti~koto «tolkuvawe» na nagonskite reakcii kaj negovite protagonisti. Ottuka i se ~ini deka ni toj ne mo`e{e posilno da go zavrti razvojnoto trkalo na slovene~kata raska`uva~ka proza. Za razlika od Pregeq, rabotej}i prebrzo i stremej}i se da bide {to poblizok do narodnite masi vo Bene{ka, i toa ne samo do nivnite 28 OBDOBJA 23 nedosonuvani nacionalni soni{ta, tuku i do nivnite aktuelni socijalno-egzistencijalni nevolji, se ~ini deka France Bevk nitu vo toa vreme, a ne mnogu ni podocna, vo negovata raska`uva~ka proza, a osobeno na planot na formata, ne prave{e nekoi pozabele`livi napori za izleguvawe od ramkite na realisti~kata konvencionalnost. Ne uspevaj}i, a mo`ebi ne pravej}i napori za osloboduvawe ni od ne taka maliot romanti~arsko-ekspresionisti~ki balast, duri i pokraj negoviot ponekoga{ rezultaten prodor vo vnatre{niot svet na nekoi protagonisti od negovite prozi (vo Tuüo dete, na primer), toj sè u{te najmalku e inovanten i rezultaten tokmu na planot na stilsko- izraznata faktura, kako i na planot na strukturata na negovite raska`uva~ki prozi. Ne tolku takvata povrzanost so realisti~kata tradicija, kolku svesnoto sprotivstavuvawe na taka mo}no ostvareniot subjektivizam i simbolizam vo raska`uva~kata proza na Cankar, vo narednite godini ne samo {to ne be{e prekinata, tuku, naprotiv, be{e potsilena od strana na mladite avtori koi vo 30-tite godini dominantno se ostvarija kako socijalni realisti. Ilustrativna potvrda za toj poskoro podnoven otkolku napolno nov bran e pojavata na kolektivnata zbirka noveli Sedummina mladi slovene~ki pisateli (1930). No, videno od dene{na distanca, vo kontekstot na socijalniot realizam najrezultatno se ostvarija Pre`ihov Voranc i Mi{ko Krawec, za koi razvojnata presvrtnica se slu~uva vo sredinata na 30-tite godini. Celi 20 i pove}e godini pred toa P. Voranc sozdava{e bavno i nerezultatno kako anemi~en epigon na slovene~kite realisti~ki avtoriteti, taka {to pette negovi ne mnogu rezultatni Povesti (1925) pominaa skoro voop{to nezabele`ani. Sprotivno na toa, monumentalniot i mitski silniot realizam so koj, po ednodeceniskiot molk, gi pronikna negovite Samoniknati (1940), }e go pretstavi duri i kako ne{to pove}e od afirmativna i respektabilna pojava me|u slovene~kite raska`uva~i vo toa vreme, }e go pretstavi kako eden od najzna~ajnite slovene~ki raska`uva~i vo prvata polovina od XX vek. Iako vo negovite samorastinski noveli ne e nezabele`liv pulsot na Jur~i~evata romanti~na ~uvstvitelnost, pa iako mo`e da se re~e deka Voranc dosledno se pridr`uva kon Levstikovite programski preporaki, sepak, takviot negov realizam be{e pred sè ili barem pove}e dorekuvawe na kriti~kiot realizam, pa duri i negovo kolku nacionalno-socijalno, tolku i idejno naso~uvawe i opredeluvawe. (Kolku za potsetuvawe: Kon takvo nacionalno opredeluvawe, kolku so svoite prozi, u{te pove}e so negovata po{iroka aktiva, naso~uva{e u{te Cankar.) Taka kreativno visoko realiziranite kusi prozi na OBDOBJA 23 29 Voranc se, me|u drugoto, i izvonredno uspe{na umetni~ka materijali- zacija na negoviot revolucioneren pogled na svet. Sekako, toa ne e najva`na, no barem e u{te edna va`na pri~ina da bidat prifateni kako najvisok dostrel na socijalniot realizam kaj Slovencite vo domenot na prozata. Ne e nepoznato deka vo raska`uva~koto iskustvo na Mi{ko Krawec, koj e smetan za vtemeluva~ na socijalniot realizam vo slovene~kata raska`uva~ka proza (Kos 2000: 331), koga se vo pra{awe negovite rani tvore~ki godini, na eden slo`en na~in i skoro istovremeno partici- piraat i besprekorniot primer na Cankar, i slovene~kite ekspre- sionisti, i katoli~kata literatura, posebno pak I. Pregeq kako nejzin najizrazito ostvaren pretstavnik. Nasproti negovoto zabele`livo pretstavuvawe kako socijalen realist u{te vo kolektivnata nove- listi~ka zbirka Sedummina mladi slovene~ki pisateli, na novoreali- sti~kite relsi toj vistinski se prestrojuva i visoki rezultati dava duri kon sredinata na 30-tite godini. Videna, pak, od podocne`na pozicija, negovata raska`uva~ka proza, iako od po~etok do kraj i istekuva{e i se vleva{e vo blagoprijatnoto realisti~ko pristani{te, sepak, «ne saka{e, a ne ni mo`e{e da bide skameneta slika na stvar- nosta» (Zadravec 1975: 9). No, ne stanuva zbor za nekakvo poizrazito moderno kreativno is~ekoruvawe, osobeno ne vo formalna nasoka, tuku samo za nastojuvawa, no i za vistinski kreativni mo`nosti da se osmisli «poetski izrazenata priroda» (Zadravec 1975: 9). Kako zastapnik za, no i kako sozdava~ na literatura koja {to }e ja neguva humanizacijata na prirodnite me|u~ove~ki odnosi, Krawec ne samo {to dade vonreden prilog vo ideolo{koto vlijanie na socijalnata literatura vrz op{testvenata stvarnost vo me|uvoeniot period, tuku osobeno investira{e i vo lirskoto osloboduvawe na negovite raska`u- va~ki prozi.
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