()

(1885)
- , ,
, , .
" ".
, , ?

, ,
.
,
,
1874,
, . ,
1894. ,
" ", "
" , , " ". ,
1906. " ".
,
.
, , a
Histoire
des littratures compar,
.

.
,

.
:
1906. , ,
.

.

.
.

1895.

 ,
,
, , ,
, .
,

.
,
,
,
.

,
,
. ,
: "
" (1903-4), "" (1904-5) , "
" (1911-12), " " (1921-22),
1924 1935. "
" :
; (, );
; ;
; .
, (
)
"- ". , ,
. "
,
" .

: ,
,
.
: "
".


, 1910.
.
,
2

 . 2001.
, IV ,

.

.
, ,
, .

, "
".

.
1905, :
,
, ,
. , , ,
, , , ,
, , , , , .
, , .
: , , , ,
, (), ,
,
, [] .
, , ,
, . :

( ) ,
, . 1) ,
2)
, ...

" ".
.

, .

. ,
,

 .
.

.
: " " (1906,
), " " (1909), "
" (1911-12), " " (1912-14).

( ),

.
1922. 1925. .

, .1
I "
( ), / I".
" ", , " (II)"
:" " .
" ",
.
, (""), .
, , ; ,
, .
,
.

. , .
I ?.
, , .

,
, ,
.
, 141 ,
99. . , ,
.2
,
,
. 1922,
1925, 1926, 1927.
2
, , ,
100. 101. .
.
1

 ,
34 , .
.

,
, , ,
, :
. .
scripta. .
, . 1923 1924. 16-17.
100 . , , ,
( !)
. . . "
". . .
, ,
.
.3

, ,
, "" ,
, ,
.


.
""
.
, , ,
,

. , ,
. ,
,
. , ,
. .
,
. ,
, .
, , .
.
3
, . III, , 31. VII 1929, . 5.
5



.


.
, , : " ",
, , : ". ". ,

"" . ,

, ,
.


.
grosso modo.
;
; ; ; ,
, ""; "" , "".
anticipando XIX ,
"", , ,
; ( ) ; (
) "", " " ( )
, .

,

.
, ,
. ,.
,
" ", , .
1874,
,

(1882-1885)
(1888) .
.


, , "
,

".
, ,
. "",
, .,
,

.



. , .
Sturm
und Drang, " " "
" : "",
"", "", " ", "
", " ", " ". .
Dunciad : ", ,
".

,
.
",
, " , ,
, ,
, , ,
. ,
,
, , . ,
. 4
: "Bei keinem Dichter vielleicht tritt die Freude an der Flle des Lebens,
an der Buntheit der Menschengestalten, der Launen und Leidenschaften, das aus Teilnahme und Ironie
gemischte gttliche Behagen ber allen Reiz und alle Torheit der Welt so ungemischt, ungetrbt zutage
und ist so voll ausgelebt als bei Ariost. Ohne Bewunderung fr die ritterlichen berlieferungen, aus denen
er den Stoff seines Gedichts schpfte, ward Ariost durch seine Freude an allem Geschehen derart
erwrmt, da er jedes Gefecht, jedes Abenteuer, jede heroische wie burleske Situation seiner bunt
wechselnden Handlung mit lebendigsten Farbenreiz schmckt und dadurch seine Gleichgltigkeit gegen
die Totalitt seiner Charaktere vllig vergessen macht. Die Frische, die Lebendigkeit, die gute Laune des
Dichters bleiben sich berall gleich, sein Ernst wie seine Frivolitt, seine geistreiche Ironie wie seine
4

 ,
,
( , )
,
. , ,
, ,
, ,
, .

: , ,
, ;
,
,
;
,
, ,
; ,
, , ,
. -
, . ,
. -

. ,
, , , , , , ,
,
.

. ,
, .

,
. 1904.
.

. e
Sinnlichket erscheinen von der unwiderstehlichsten glcklichsten Anmut durchhaucht. "Das Kunstziel
des Ariosto ist das glanzvoll lebendige "Geschehen", da sich gleichmig durch das Ganze groe
Gedicht verbreitet" (Burckhart "Kultur der Renaissance"). Der Flu und die Musik seiner Oktaven
muten neben all diesen Reizen fr italienische Ohren des Cinquecento wie spteren Zeiten
unwiederstehlich wirken. - Dr Adolf Stern, Grundri der Algemeinen Literaturgeschichte, Leipzig, 1906,
p. 116.
8

, . ,

: "Son style est simple, naturelle, juste, prcise."

.
,
.
, ,
.

.
, .


.
1929-30. ,
,

,
.
,
,
, . "
" ,
"
1)

- , ; 2)

3)
."

,
.

,

.
, ,
:
9

, , ,
, ,
, ,
,
, " ",
, , .
, ,
, ,
, ,
, ." 5

, ,

, , , , , , , ,
, , , , , .
, , .,
.


.
; ,
.

.
,
:

. ,
.
, , 1921.
, XX ,
, -
, "",

"Ma nella critica e storia della poesia, che da oltre un secolo cresce e si svolge, nelle pagine dei grandi
critici, i quali, via desinteressandosi della tradicionale Poetica in cui non trovavano sussidi ma impacci,
sono venuti e vengono foggiando una serie di concetti empirici, che sono veri e propri generi letterari,, i
"generi moderni", quelli che veramente bisogna raccogliere, elaborare, ordinare ed accrescere. Nati dalla
pratica con le effettive opere di poesia, con la concreta vita letteraria, dalla critica debbono essere desunti
per tornare a essa meglio determinati e rinvigoriti, e affinarsi e poi logorarsi nell'uso, preparando nuovi
concetti, che percorreranno lo stesso circolo." - Benedetto Croce, Per una poetica moderna, Nuovi saggi
di estetica, Bari, 1926, p. 324.
5

10

: , ,
"" .6

,
.
,
, ""
. ""

(1910).7
,
,
.
,
.
,
.
. ,
, .
,

...
" ".
:
[...]
.
, .
.
6

, , . , , 1934, . 163-5.

:", , , , . , , , ;
, , , , "; : ",
, , , , , ; ...." - ,
, IV, . 281. : "''Giant', 'Samson', 'Goliath',
'Hercules', "athlete', 'wrestler', 'prizefighter', 'conqueror', 'Olimpian victor', 'tamer of steeds', 'lion-slayer',
'wielder of the axe', 'thrower of the javelin', 'strong of arm', 'fleet of foot', 'brawny figure', 'muscular
proportions'. - (Animals). 'Lion', 'tiger', 'elephant', 'war-horse', 'bull', 'ox', 'king of the forest', 'monster of
the deep', 'eagle', 'vulture', 'whale', 'cobra'. - Alexander Bain, English Composition and Rhetoric, part
second, Emotional Qualities of Stile, London, 1924, p. 71 .
,
.
.
7

11

 ,
. 8

,
, .
, ,
, , ,
.

Ivo Tartalja (Belgrade)

Bogdan Popovi ex cathedra
Summary
Bogdan Popovi was appointed as a professor of General History of Literature in
1893, and he was faced with an old problem in acute form: how to determine the balance
between range and depth of literary studies? By connecting history of literature with
literature theory and criticism, and with aesthetics he tried to avoid a shallownessof wide
subject range approach. In 1905 the course got the official title "Comparative Literature
with Theory of Lierature".
In teaching literature theory and criticism, Bogdan Popovi was focused on
cultivating close reading and critical analysis among students. The aim of such method is
to identify details of literary text, scanning it "line-by-line" and "word -by-word". He also
held lectures on broader subjects, such as the origins of poetry, the evolution of lyric
poetry, the classical Greek drama, and reviews of French, Italian and German literature.
During the 1922-25 course he tried - building upon Adolf Stern's book Grundriss der
Algemeinen Lieraturgeschite - to give the most consise review of poetry works, from
Ancient Egipt to German Romanticisme.
At tutorial meetings he suggested to explore a vocabulary of literary criticism,
while writing down the sharacteristics of literary works mentioned by literary criticism and
historians in their evaluations. By that kind of suggestions he was predercessor of
Benedetto Croce's ideas on shaping a modern poetics.

, , , 1992,
. 307-310.
8

12

13