četvrtak, 10. svibnja 2018.

Tatjana Debeljački | Savršenstvo

New book Tatjana Debeljački  タチアナ デベリャスキー
Serbian English and Japanese


Nestaje zajedništvo.
Gubimo se napuštajući sebe.
Kasno je za otkrivanje simbola.
Izraz je oblik istraživanja.
na ulazu govornih komora.
Razloge spore žrtvujemo brzim rečima.
Rastanak je hroničar bez hronike.
Tumačenja naslućujemo po značenjima vrednosti.
Ne mučimo tigrove unutrašnošću neba.
Dragi kamen smo izgubili.
Potraga je uzaludan trud.
Gajimo veru okolnosti slučaja.
Obraz pokazuje tragove dlanova.
Predugo sanjamo pretnje odgovornosti.
Ironično razrešenje sumnje ostavljamo za kraj.
Tragove zaveštavamo siročićima.
Bog je bio slavljen..
Iz zapisa izvlačimo po potrebi.
Nismo uvideli da sve je prolaznosti sklono.
I duboki jaz između poljubaca,

25. Konkurs za najlepšu ljubavnu pesmu, koji tradicionalno organizuje Dom kulture iz Ivanjice.Selektor konkursa, pesnik Milijan Despotović


Togetherness disappears.
We are lost while leaving ourselves.
It's too late for finding symbols.
The expression is a form of research
at the entrance of voice ventricles.
We sacrifice slow reasons to the quick words.
Parting is a chronicler with no chronicles.
Interpretations are hinted in the meanings of values .
Let’s not torture the lions with the inner space of the sky.
We have lost the gemstone.
The search is wasted effort.
We nurture the faith of case circumstances.
Cheek shows the traces of palms.
For too long we dream the threats of responsibility.
Ironic solution of doubting we have left for the end.
We demise traces for the orphans.
God was praised, unfortunately.
From the scriptures we take out when needed.
We did not realize that all is prone to cease.
And a deep gap between the kisses,
We did not admit.

The 25th contest for the best love song, traditionally held by the
Cultural centre in Ivanjica. The contest director is a poet Miljan Despotovic



Critic/ 講評


Tatjana Debeljacki: ‘Perfection’

    ‘In reality, everything is on’ and one world, wrote Béla Hamvas in an essay on poetry. Poetry arises from what it is, and it is what is in the perception of the poet. It is managed by the creator and it pronounces his thoughts, so isn’t it one?! And closeness is one, though everyone has their own closeness, but that's just closeness. It is established with someone dear, both in life and in poetry. Establishing closeness is finding the way to perfection. And is perfection achievable?
          That is the theme the poet Tatjana Debeljacki1 wrote in her collection of poems entitled "Perfection"2, which opens with the poem "To Someone Close to Me" 3 removing every, even the biological "gap between", because poetry does not see the experience separately, in terms of poetry it is unique, a unique reality that it creates for itself. Everyone, of course, sees the "morning golden on the horizon" in the same way, which is what the "Japanese mountaineer" from the land of the rising sun, "the land symbolized by the Sun, the light and hope of this poet, says - everything far away from her is close to her, and she sees.
           In the poetry of Tatjana Debeljacki, the light of the "Japanese lamps" is noticeable and her poetic experiences with this reality are associated with the correspondence with the poet from another culture, from which a whole series of poems on Japanese themes emerges. The "second letter" from Japan says:

I wrote a poem
For the first and last time

The most beautiful poem
You and I

         But, let's get back to the inner Japanese lantern, this "magnetic attraction" of feelings, which like "the lyre of heavenly sound" somewhere in Zen, to a large extent excitingly calm, transmits "silky threads of touch". She, "On the Road to Japan", shows that she can travel and attend the scene of "double shadows that dance" and one of which is Him, without ever leaving the work table. The poet has the power to knit "dreams from color to word" ("Japan in April") and give life to a new reality because each end is the same. Life, according to her, is an ordinary "Japanese cat" so that even when you throw it upside down, it lands on its feet. From the poetic "wisdom of insomnia," the poet thrives philosophically to "hear (...) how the ripple of the sea grows", which is the symbol of the adventure to understand the "Japanese spirit" of the experience and the scene of leaving a kiss in the place of Adam's apple. Here love is not only an illusion, it is sometimes life on the other side of the feeling, and the poet thus attains personal perfection in the cruelty of imperfect nature.
Perfection as something that is under constant suspicion is the title of this book. The poet, through this headline, leads a "battle of frightened thoughts." But fear has been overcome by what is "inevitable and predictable" because life and behavior in it go with the desire for perfection born when we are born. 4 The poet accepts "to represent Him before God," advocating the "ordinary creative mind". Coming to the stage of literary omnipotent elevation, she truly recognizes perfection by receiving "a message of closeness from a distance". The energy invested is somewhat doubled, there is something that cannot only be searched for, but needs also to be made and created; life passes anyway, says Tatjana Debeljacki: "Life is lost in search, consumed in creation" ("Feather"). Life "spent" in the creation of poetry is only an extension of the duration of the poet, and this is a "book that speaks volumes" about this idea.
The poet is not deprived of her own problems which often give birth to poems ("Love and Damnation, Mother"), having understanding for the mother of care, saying that "the sun is struggling to go out, even the one in the chest" within us. All this proves that a man is not the master of his will, but the will of the master must be obeyed till the end. This is one of the important pages and our personal scroll (book). But the book is being filled in every single moment. Can we read and understand that "they warn us everywhere how to use the moment that is there to establish and persuade the impulses of time? Don’t we become ridiculous if we go against the moments dictated by time in our lives?"5
          Our poet therefore reveals the "eternity" of the written love in her eyes, her new but also the distant pensive eyes, and concludes: "How complex simple love is!" And nothing is simple, nothing fades. The only thing that fades is a lie that "reminds imagination with the freshness of truth". So much for the reason for which we put all the things in poetry into place, even the unpleasant ones that cannot be excluded from experience. Only then, and Tatjana Debeljacki succeeded in achieving that in her book of the same title, can perfection be poetically understood in imperfect reality. Poetry has found that love is the one that "imposes new forms on the wind ". It is a balm applied by reading, and Italo Calvino said that what is being read is always in the making, so this poetry always re-emerges with every reading, and rich thought content keeps the attention of the reader.
What, along with the biography of the poet, is accepted as a special feeling of strength in the singularity of poetic writing, "the magic of the journey/to inner harmony." The poet does not give up anything that belongs to her in the sense of perception and understanding, she bravely writes verses of her invincible craving. The verse brings hope and faith as well as a clear awareness of the path that begins and ends in us.
This poetry fulfills its creative task and enters a new era of its own duration.
That's where perfection lies.

Pozega, 6th February, 2018
2) Tatjana Debeljacki: ‘Perfection’, Cultural Centre, Ivanjicа, 2018.
3) With her poem ‘Closeness’, Tatjana won the first prize at the love poem literary contest ‘Ripples of the Moravica’ in Ivanjica, 2017. In the explanation (as a member of the competition jury) I wrote: From the poetic letter "The Close One" in which everything speaks of love without ever mentioning this word directly, we open up thoughts, a series of special lessons and wisdom, with a message that loving others means loving oneself and "losing oneself from leaving oneself". The poem consists of twenty thoughts, classic aphorisms, each of which could be a motto of a new poem. Love is here in a dilemma over what "is prone to transience", it is what is needed to overcome the "gap between kisses".
4) Alfred Adler thought that ‘pursuance of perfection is hereditary’. 
1) Tatjana Debeljacki (Titovo Uzice, 19..) writes contemporary and haiku poetry and prose. She has published nine books. She lives in Uzice.

5) Milo Lompar: ‘An Ode to Nonmodernity’, Laguna, Belgrade, 2016. p.35.




   『実際、すべては続いている』そしてひとつの世界だ、と詩についてのエッセイでベラ・ハンヴァスが書いた。詩はそれがなにものであるかということから生起する、そしてそれが詩人の極致にあるものである。それは創造者に巧みに扱われていて彼の思索を音に発出している、従って、それではない ものなのか。 そして近親性はひとつである、が誰もに自身の近親性があるけれども、それはただの近さである。それは大切なと、人生と詩において確立される。確立する近親性が完全な道を見つける。そして、その完璧さは達成可能であるのだろうか?
それが詩人タチアナ・デベリャスキーが『完璧』という詩集に述べているテーマである。そこで「近くにきて」という詩で明らかにしている、自伝的な「ギャップ」すら、どれをも取り除きながら、なぜなら詩は経験を別々に見ないからである。詩の言葉において斬新であるリアリティはみずからの為に創造しているのだ。誰もが、もちろん、「地平線の金の太陽」も同じ様式である。陽の上る国「日本人登山家」 のと同じ方法で見る、「太陽に象徴化されているもの」その光や希望をこの詩人は言う―ずっと離れたものみなは彼女に近く、彼女は見るのだ、と。



一定の疑惑の下にある何かとしての完璧さが、この本の題名である。詩人は、この主題を通じて、「脅えている考えの戦い。」を導く。しかし、恐怖は、「必然的で、予測できる」 それゆえ命により克服され、私達が誕生する時には、 それの行動は 誕生した完璧さへの欲望と一緒になる。詩人は「神の前における彼の象徴」を受入れ、「普通の創造的な精神」を主張する。投入されたエネルギーは多少は倍増され 検索できない何かがある けれども、創られ造られる必要がある;「命は検索に血走り、創造に消費される」(「羽」)。詩の作成の「使われる」という命は、詩人の期間の拡張であるだけで、これは、この思索についての本である。
詩人から、しばしば、育てる母のために理解していることを表す詩(「愛と断罪、母」)、そして彼女自身の問題を奪わない、内では「太陽は、外に出る胸のものために奮闘している」と言う。すべてのこれは、人が彼の意志の主人ではないというけれど、主人の意志は終わりまで従われなければならない。これは、重要な頁および私達の個人的な本のうちの1つである。しかし、本はすべての単一の瞬間に満たされる。私達は読むことができて、どこでも"それらが私達に警告し、どのように、時間のインパルスが立ち上がり、説得するための瞬間に使われるかと?もし私達が、私達のライフにおいて時間までに命じられた瞬間に逆らうならば、私達は滑稽ではないか。 従って、私達の詩人は明らかにする。書かれた愛の永遠を。彼女の新しいそして遠い沈んだまなざしを。そして結論する。「ただの愛がなんと込み入っているのだろう!」そして、何も簡単ではなく、何も薄れないのだ。薄れる唯一のものは嘘だ。 「真実の新鮮さによって想像力に思い出させている」 である。私達が、すべての物を、詩に、場所〈その不愉快なものでさえ経験から除外できない〉に入れる理由のために。その時、およびタチアナ・デベリャスキーだけが、達成することに成功し、不完全な現実において同じ題名の完璧さの彼女の本において詩的に理解されるのだ。詩は、愛情が、「新しい形を風に乗って課す」 であると気付いた。それは、読書によって適用された鎮痛剤であり、イタロ・カルヴィーノは、いつも、読まれているものが創作であると言った。従って、この詩はいつもすべての読書によって再度明らかになる、そして、豊かな考えのある内容は読者の注意を引き止め続ける。

Translation by Mariko Sumikura


The poem is the homeland of feelings, a poet's topography of the soul. Its sublimity inevitably strives for perfection, which must not only be in linguistic and stylistic outbursts, but also in the comprehensiveness of meaning - the perfection of experience, as the basic assumption of the construction of poetic totality. This unity of emotionality and literary process is a very close-knit idea, from which a trilingual collection of poems by Tanja Debeljacki entitled Perfection emerged. If we add Tanja’s experience in the writing of haiku and the diligence and conciseness of this poetic form and, on the other hand, the knowledge of Japanese culture and its symbolic and idiomatic expressions in traditional but also modern literature, the initial analogy can go as far as Lottman's remark that literature has a simplicity more complex than complexity - in a balanced ideal and harmony between the aesthetics of the theme and the inner aesthetic experience, the image and the essence, as is the case with this collection.
In the first poems, Japan already appears as a prefix and symbol, the thematic motivational centre of the poem, but also its upgrade as an ideologeme that does not necessarily reflect reality, but creates itself in a sphere in which emotions and the need to bring the distant landscape closer to a deep inspiration in detail and the whole are touched. For, as Valéry says, "We are going forward, but we are constantly in moments and we cannot stop them." Collecting these details is a way of overcoming the time and space of the "man-passenger" (hommo viator) who, between the country's homeland and its projections to the heavenly vault, "becomes aware of his belonging to the whole" (Adler). In the same way, Tanja Debeljacki, between the horizon of her own poetic experience and the distant horizon of the homeland of her haiku inspiration, finds the unity and symbiosis of very successful poetic paintings and poetry as a whole.
Regarding the second part of the collection, it is to be noted that the poet remains faithful to her obscure subjects; love, passion, thriving for eternity, faith in the value of ethics and authentic poetic existence. "Memory is the suicide of oblivion" - writes Tanja Debeljacki in the poem "Eyes" in order to indirectly emphasise that we live simultaneously in comprehensiveness and finality, as in the "community of feelings" (Virilio) between which there is a bridge of verses as a quote of time and experience. An attempt to bridge spaces and unite different times defines a mission that we can recognize in almost every poem of this collection, in the thoughts and symbolic subtext. But the danger that is lurking from excessive self-consciousness is somewhat avoided because the intensity of inspiration neither explicates nor determines the degree of the value of the work. The successfulness of the poems is often more influenced by inner harmony than by ecstatic excitement, and precisely such harmony is established by Tanja in most of the poems.
As early as 1975, writing in a short autopoetic text about poetic inspiration in a text with the same title, Sándor Veres says: "Inspiration is not everything: if the content is not present in us matured to the point of display, and if nothing is caught from the flow of our current thought, then love of oneself gapes like a gloomy, empty abyss. Steel can be formed only at the appropriate temperature: however, the temperature is futile if there is no steel ..."
In Tanja Debeljacki, the fire and the building material of Perfection are visible. What is recognized is the steel in her words and the fire in the expression, the will, above all, to sing deeply and sensibly at the time when every kind of sensation has been forgotten, pushing it towards the margin of the sentiment, not the depth of the experience. That is why we should always praise the perseverance of the poet who watches and thinks about the world of images and languages as if it was re-created, and her intention to overcome space and preserve all that is most valuable - soul.

in Belgrade on 14th February, 2018            Petar V. Arbutina  


詩は感情の母国だ、魂の詩人にとっての地勢だ。気高さは、必然的に、言語および文体の爆発だけでなく意味の包含性においても完璧であろうと努める。すなわち詩的な総計の構築の基本的な仮定としての経験の完璧さである。情緒性および文学的なプロセスのこの単一性は、非常に密接に結び付いた考え方だ。それから、「完璧」と題されるタチアナ・デベリャスキーによる詩の三言語併記の詩集は明らかになった。もし私達がターニャの経験〈俳句を詠む、およびこの詩的な形の真面目さと簡潔さの一方で〉を追加するならば 日本の文化の知識、および伝統的であるけれどもまた現代の文学でのその象徴的なおよび慣用句的な表現 、文学が簡潔さをさらに保持することにおいて初期の類似はロットマンの意見に行くことができる。すなわち複雑さより複合-テーマの美学と内側審美的経験の間の釣り合いが取れた理想と調和において この詩集がそのイメージと本質の例である。
最初の詩に、すでに日本が、序文と象徴のように、詩の主題動機を与え中心に出現しているけれども、また 必ずしも現実を反映しない夢想家としての上位系 、しかし、 遠い景色 深い洞察に感情が必要で全体に触れるその圏域において自身を作りあげる。それのために ヴァレリーが、「私達は前に行くけれども、私達は常に瞬間にいて、私達はそれらを止めることができない。」と言う 。これらの詳細を収集することは、時間および「乗客」(旅人) 国の母国と神聖な地下室、「彼が全体に所属していることに気づく」(アドラー)へのその投影空間に打克つための方法である。同じ方法において、タチアナ・デベリャスキー〈彼女自身の詩的経験の地平線と彼女の俳句の霊感を受ける母国の遠い地平線の間の〉においては、詩的な絵画と詩の単一性と共生が上手くかみ合っているのが分かる。
詩集の第二部について、書く必要があるだろう。詩人は不明瞭な主題に忠実であり続ける;愛情、情熱 永遠、倫理および本物の詩的な存在の価値の信頼のために沢山創作をする 。「記憶は忘却の自殺である」-私達が、包含性および終局 それゆえ その間に時間と経験の引用文として詩句の橋がある「感情の共生」 に同住することを間接的に強調するために、詩「目」をタチアナ・デベリャスキーは書く。空に橋を架けて、種々の時を結合する試みにより、私達がこの詩集の大方の詩に考えたり象徴的な副次的詩句に認める任務が定義される。しかし、過度な自意識から潜んでいる危険は多少避けられない。なぜなら、詩興の強度は仕事の価値の程度を展開し、決定するからである。詩の成功は、しばしば、有頂天の興奮より多くは 内的調和のため影響される であり、断言できるが、その調和なる詩のタチアナにより打立てられている。1975年、同じ題名で詩的なインスピレーションについての短い話のと同じ速度で自動の書き込みをサンダー・ヴェレスが行った。「霊感が全てであるわけではない:もし内容が存在しないならば、表現が円熟した。そして、もし何も私達の現在の考えの流れからでなければ、陰鬱で、空の深海のような裂け目を自身が愛しなさい。鉄鋼は適切な温度だけで形成できる:しかし、温度はもし鉄鋼が全く無いとすれば無益である…」
タチアナ・デベリャスキーでは、火および完璧さを構築する素材が見える。認められているものは、表現において彼女の言葉の鉄鋼と火である 意志〈どのような感覚も忘れられた時間に深く、賢明に歌う 経験の深さではなく、感傷の入れ込みである 〉 。それは、いつも詩人が見るとまるでそれが再生されるかのようにイメージと言語の世界について考えるもので、忍耐力を賞賛するべき所以である。 空間に打ち克ち、貴重なすべてで守るという彼女の意図は魂である。

ベオグラード 2018年2月14日  
ペーター V.アルブティナ
Translation by Mariko Sumikura

Ilustracije / Artwork: Janoš Mesaroš
イラストJanos Mesaros

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