{"id":1355,"date":"2017-12-01T00:12:43","date_gmt":"2017-11-30T23:12:43","guid":{"rendered":"https:\/\/www.bubakov.net\/?p=1355"},"modified":"2017-12-03T14:01:41","modified_gmt":"2017-12-03T13:01:41","slug":"harak-i-pedomancie","status":"publish","type":"post","link":"https:\/\/www.bubakov.net\/?p=1355","title":{"rendered":"HAR\u00c1K, I., Pedomancie"},"content":{"rendered":"

<\/a>Text na ob\u00e1lce posledn\u00ed Har\u00e1kovy sb\u00edrky trochu sugeruje obraz poetick\u00e9ho skladi\u0161t\u011b. Editor uv\u00e1d\u00ed, \u017ee b\u00e1sn\u00edk se tu p\u0159edstavuje ve v\u0161ech dosavadn\u00edch poloh\u00e1ch, co\u017e u pou\u010den\u00e9ho \u010dten\u00e1\u0159e v\u017edycky vyvol\u00e1 jistou ostra\u017eitost; t\u00edm sp\u00ed\u0161e, \u017ee text pokra\u010duje ko\u0161at\u00fdm v\u00fd\u010dtem forem i t\u00e9mat. Oboj\u00ed je pravda, p\u0159esto sb\u00edrka vykazuje dostate\u010dnou soudr\u017enost, neztr\u00e1c\u00ed tvar ani tv\u00e1\u0159.<\/p>\n

Pohromad\u011b ji dr\u017e\u00ed koncepce p\u011bti odd\u00edl\u016f a taky dominantn\u00ed princip pr\u00e1ce s\u00a0jazykem, j\u00edm\u017e je masivn\u00ed otev\u0159enost jeho struktur, zejm\u00e9na syntaktick\u00fdch. Frekvence neukon\u010den\u00fdch v\u00fdpov\u011bd\u00ed (t\u0159i te\u010dky, poml\u010dka, dokonce t\u0159i poml\u010dky) je nep\u0159ehl\u00e9dnuteln\u00e1; pro ty, ji\u017e by snad st\u00e1le v\u00e1hali, s\u00a0\u010d\u00edm se b\u00e1sn\u00edk pere p\u0159edev\u0161\u00edm, jsou tu ver\u0161e jak turistick\u00e9 zna\u010dky: \u201ejazyk, jej\u017e marn\u011b vedu k\u00a0\u0159e\u010di\u201c (str. 18). Ivo Har\u00e1k se pt\u00e1 po mo\u017enosti vyslovit jazykem, co stoj\u00ed za jeho horizontem.<\/p>\n

Prvn\u00ed odd\u00edl nazvan\u00fd Posledn\u00ed trubad\u00far<\/em> p\u0159edj\u00edm\u00e1 v\u011bt\u0161inu z\u00a0tv\u016fr\u010d\u00edch postup\u016f, kter\u00e9 ur\u010d\u00ed tv\u00e1\u0159 cel\u00e9 sb\u00edrky: Velkou m\u00edru stylizace lyrick\u00e9ho subjektu (i jeho jazyka), promy\u0161lenou pr\u00e1ci s\u00a0mimojazykov\u00fdmi prost\u0159edky (p\u0159edev\u0161\u00edm s\u00a0\u0159ezem p\u00edsma), bohatou \u0161k\u00e1lu forem.<\/p>\n

Je-li odd\u00edl uvozen \u201eRodokmenem posledn\u00edho trubad\u00fara\u201c, t\u011b\u017eko si nevzpomenout na biblick\u00e9 rodokmeny zakladatelsk\u00fdch postav a prorok\u016f. Har\u00e1k\u016fv trubad\u00far je tak sice v\u00a0duchu sv\u00e9ho st\u0159edov\u011bk\u00e9ho p\u0159edobrazu potuln\u00fdm b\u00e1sn\u00edkem, sou\u010dasn\u011b se v\u0161ak uvedl tak\u00e9 jako potuln\u00fd kazatel \u2013 jeho milostn\u00fd zp\u011bv m\u00e1 v\u017edy tak\u00e9 podt\u00f3n \u017ealmu: Jedine\u010dn\u00e1 l\u00e1ska odkazuje k\u00a0tomu, co p\u0159esahuje ka\u017ed\u00fd individu\u00e1ln\u00ed lidsk\u00fd p\u0159\u00edb\u011bh. B\u00e1sn\u00edk je p\u0159itom p\u0159\u00edsn\u011b nekonfesijn\u00ed. V\u00a0jeho rodokmenu m\u00e1 m\u00edsto staroindick\u00fd epos, \u0159eck\u00e9 b\u00e1je i \u010desk\u00e1 st\u0159edov\u011bk\u00e1 dvorsk\u00e1 p\u00edse\u0148. Karty jsou vylo\u017eeny, dobrodru\u017estv\u00ed poezie za\u010d\u00edn\u00e1.<\/p>\n

Autor vod\u00ed \u010dten\u00e1\u0159e slalomem b\u00e1sn\u00ed s\u00e1zen\u00fdch kurz\u00edvou a t\u011bch, kter\u00e9 jsou provedeny v\u00a0b\u011b\u017en\u00e9m \u0159ezu p\u00edsma. M\u016f\u017ee se tak skr\u00fdt nejen za masku trubad\u00fara, ale tak\u00e9 za odst\u00edn\u011bn\u00e9 podoby textu \u2013 jeden s\u00a0vy\u0161\u0161\u00ed a jeden s\u00a0ni\u017e\u0161\u00ed m\u00edrou stylizace. To citliv\u011bj\u0161\u00ed \u0159ekne p\u0159irozen\u011b v\u00a0kontextu, kter\u00fd mu v\u017edycky umo\u017en\u00ed cuknout zp\u011bt, zap\u0159\u00edt, shodit nebo alespo\u0148 zrelativizovat: na poli vykol\u00edkovan\u00e9m kurz\u00edvou.<\/p>\n

S\u00a0troj\u00ed jednotou si ale \u017e\u00e1dnou starost ned\u011bl\u00e1, m\u00edsta a \u010dasy voln\u011b prostupuj\u00ed d\u011bjem. V\u00a0kulise st\u0159edov\u011bk\u00e9ho souboje se tedy bez rozpak\u016f nab\u00edz\u00ed krabicov\u00e9 v\u00edno, jak Har\u00e1kovi vel\u00ed jeho specifick\u00e1 obraznost \u2013 v\u00edce metonymick\u00e1, ne\u017e metaforick\u00e1; je p\u0159ece hleda\u010dem souvislost\u00ed. Z\u00a0figur mu v\u00fdborn\u011b funguje p\u0159edev\u0161\u00edm opakov\u00e1n\u00ed, sp\u00ed\u0161e jako repetice v\u00a0hudb\u011b ne\u017e prost\u00e9 litern\u00ed epizeuxis (viz b\u00e1se\u0148 Posledn\u00ed trubad\u00far a rozsypan\u00e9 fr\u00e1ze<\/em>, str. 23-24 nebo Posledn\u00ed b\u00e1se\u0148 posledn\u00edho trubad\u00fara<\/em>, str. 27), j\u00edm\u017e p\u016fsobiv\u011b rytmizuje text.<\/p>\n

Nejn\u00e1padn\u011bj\u0161\u00ed je ale rozhodn\u011b aliterace, kter\u00e1 u\u017e nen\u00ed jen zjevn\u00e1, n\u00fdbr\u017e zcela ok\u00e1zal\u00e1: \u201eSypa\u010de sypou s\u016fl sly\u0161\u00ed\u0161 jak sy\u010d\u00ed?\u201c, \u201eo \u00fahlech uhl\u00ed ve v\u011btru, je\u017e pl\u00e1pol\u00e1 a pl\u00e1 \/ o slonech sloj\u00ed, vl\u00e1\u0161en\u00ed a vl\u00e1n\u00ed\u201c atd. Jazyk se redukuje na zvuk, v\u00a0sy\u010den\u00ed a \u00fap\u011bn\u00ed zanik\u00e1 smysl slov. Jako by to byla pr\u00e1v\u011b \u0159e\u010d, kter\u00e1 smysl p\u0159ehlu\u0161uje. To nejpodstatn\u011bj\u0161\u00ed, z\u00e1kladn\u00ed obsah sd\u00edlen\u00e9 lidsk\u00e9 existence (v\u010detn\u011b existence v\u00a0l\u00e1sce), situuje Har\u00e1k mimo dosah \u0159e\u010di. Ta je mu jen zrcadlem, kter\u00fdm ho ost\u00fdchav\u011b obhl\u00ed\u017e\u00ed, jako Perseus pohl\u00ed\u017e\u00ed do o\u010d\u00ed Medusy jen skrze vyle\u0161t\u011bn\u00fd povrch sv\u00e9ho \u0161t\u00edtu.<\/p>\n

K\u00a0 osah\u00e1v\u00e1n\u00ed \u0159e\u010di pat\u0159\u00ed tak\u00e9 pestr\u00e1 pr\u00e1ce s\u00a0jej\u00ed strukturou a hierarchi\u00ed. Od p\u0159esn\u011b definovan\u00fdch \u00fatvar\u016f p\u0159es voln\u00fd ver\u0161 a\u017e po lyrizovanou pr\u00f3zu. Ani tady ov\u0161em b\u00e1sn\u00edk nevynech\u00e1 p\u0159\u00edle\u017eitost k\u00a0experimentu: prvek v\u00e1zan\u00e9ho ver\u0161e \u2013 r\u00fdm \u2013 roubuje opatrn\u011b do prozaick\u00e9ho \u00fatvaru; cinkne tu ob\u010das jako m\u011b\u010f\u00e1k hozen\u00fd potuln\u00e9mu p\u011bvci (abychom z\u016fstali pr\u00e1vi posledn\u00edho trubad\u00fara): \u201eZ ko\u0161ile d\u00e1vno vypran\u00e1 stopa hlasu. A p\u0159ece: kdy\u017e je zas p\u00e1tek a venku pad\u00e1 sn\u00edh do m\u011bknouc\u00ed hl\u00edny \u2013 z t\u00e9 b\u0159e\u010dky zavon\u00ed ozv\u011bna jej\u00edch vlas\u016f.\u201c<\/p>\n

Posledn\u00ed b\u00e1sn\u00ed prvn\u00edho odd\u00edlu jako by b\u00e1sn\u00edk uzav\u0159el album p\u0159e\u0161l\u00fdch l\u00e1sek. P\u0159e\u0161l\u00fdch, a proto nahl\u00ed\u017een\u00fdch sm\u00edrn\u011b, s\u00a0nutnou d\u00e1vkou idealizace. Druh\u00fd odd\u00edl (cel\u00fd kurz\u00edvou, cel\u00fd v\u00a0pr\u00f3ze) se otv\u00edr\u00e1 t\u00e9 p\u0159\u00edtomn\u00e9. T\u00e9 zasahovan\u00e9 banalitou: \u201eKdo bude doma d\u0159\u00edv? Kdo vynese ko\u0161? Kdo jen nastav\u00ed tv\u00e1\u0159 a kdo p\u0159itiskne rty?\u201c Ale nen\u00ed to \u017e\u00e1dn\u00e9 mudrov\u00e1n\u00ed, \u017e\u00e1dn\u00fd pl\u00e1\u010d nad rozlit\u00fdm ml\u00e9kem. Odd\u00edlu nechyb\u00ed humor a kouzlo absurdity, viz ciz\u00ed dech zaslechnut\u00fd v\u00a0dom\u00e1cnosti, sv\u00e1d\u011bj\u00edc\u00ed k\u00a0dojemn\u00e9, mraziv\u00e9 \u010di stra\u0161ideln\u00e9 point\u011b \u2013 jen\u017e se nakonec uk\u00e1\u017ee b\u00fdt zvukem lednice.<\/p>\n

Odd\u00edl Blednouc\u00ed obr\u00e1zky<\/em> je pro mne osobn\u011b vrcholem sb\u00edrky \u2013 na poli p\u0159\u00edrodn\u00ed a zejm\u00e9na reflexivn\u00ed lyriky se Har\u00e1k prezentuje jako autor \u010dist\u00e9ho, p\u0159\u00edstupn\u00e9ho v\u00fdrazu: A\u017e sk\u00e1celovsk\u00e1 jednoduchost mu evidentn\u011b sv\u011bd\u010d\u00ed, miniatury t\u0159et\u00edho odd\u00edlu jsou mal\u00fdmi drahokamy (b\u00e1sn\u011b Advent?<\/em>, str. 39 nebo Na tesech l\u00e9ta<\/em> \u2013 zejm\u00e9na druh\u00e1 sloka, str. 55). Metafora (objevn\u00e1, \u00fasporn\u011b p\u0159esn\u00e1) si tu za\u010d\u00edn\u00e1 dob\u00fdvat d\u016fstojn\u00fd pod\u00edl na\u00a0dosud dominantn\u00ed metonymii.<\/p>\n

Poetizace ka\u017edodennosti se po m\u00e9m soudu trochu syt\u00ed Kv\u011btnem \u2013 a jsem za to r\u00e1d; Har\u00e1k zde rozv\u00edj\u00ed jednu z\u00a0nejlep\u0161\u00edch tradic na\u0161\u00ed modern\u00ed poezie. Pat\u0159\u00ed do n\u00ed odkazy na zcela konkr\u00e9tn\u00ed realitu, na konkr\u00e9tn\u00ed m\u011bsta i m\u00edsta (\u0160roub\u00e1rna Lib\u010dice \u2013 v\u00fddej dr\u00e1tu<\/em>, str. 59). B\u00e1sn\u00edk identifikuje utajen\u00e1 z\u00e1ti\u0161\u00ed: p\u0159edm\u011bty a vzpom\u00ednky, je\u017e na zlomek vte\u0159iny strnuly v\u00a0pozic\u00edch jedine\u010dn\u00e9ho planet\u00e1rn\u00edho syst\u00e9mu. V\u00a0tomto magick\u00e9m kosmu se odehr\u00e1vaj\u00ed \u00fatr\u017eky nepravd\u011bpodobn\u00fdch p\u0159\u00edb\u011bh\u016f, zn\u00ed tu fragmenty dialog\u016f, jsou citov\u00e1ny n\u00e1pisy na opr\u00fdskan\u00fdch zdech, jako komety se vracej\u00ed vzpom\u00ednky na d\u011btstv\u00ed, ran\u00e9 ml\u00e1d\u00ed, ranou l\u00e1sku, l\u00e1sky.<\/p>\n

V\u00fdlu\u010dn\u00e9 postaven\u00ed tu m\u00e1 soubor Kostely v\u00a0de\u0161tn\u00e9m kraj<\/em>i \u2013 v\u0161ech 6 \u010d\u00edsel je op\u011bt vys\u00e1zen\u00fdch kurz\u00edvou. V\u00edra, mo\u017en\u00e1 sp\u00ed\u0161 transcendence, se tu objevuje st\u0159\u00eddm\u011b a s\u00a0ostychem, p\u0159esto je st\u00e1le p\u0159\u00edtomn\u00e1, by\u0165 t\u0159eba v\u00a0pl\u00e1\u0161ti existenci\u00e1ln\u00ed \u00fazkosti: \u201epl\u00ed\u017e\u00ed se lasi\u010dka \/ a p\u0159\u00e1tel p\u0159ib\u00fdv\u00e1 \/ na druh\u00e9 misce vah\u201c.<\/p>\n

\u010ctvrt\u00fd, miniaturn\u00ed odd\u00edl \u0158eka<\/em> (v\u011bnovan\u00fd kolegovi K\u0159iv\u00e1nkovi) je cel\u00fd kurz\u00edvou a nem\u016f\u017ee b\u00fdt jinak \u2013 jsou to mal\u00e9 blasf\u00e9mie, a\u0165 u\u017e se tu b\u00e1sn\u00edk rouh\u00e1 \u017een\u00e1m nebo dobr\u00e9mu vychov\u00e1n\u00ed. Sou\u010dasn\u011b ale kal\u00ed\u0161ky metafor tak brilantn\u00edch, a\u017e mraz\u00ed: \u201eA p\u011bna st\u00e9kaj\u00edc\u00ed z\u00a0hor \/ z\u00a0homol\u00ed cukru k\u00a0tichu tuhy.\u201c Ani tady Har\u00e1k nev\u00e1h\u00e1 p\u0159ipomenout, \u017ee to, o\u010d v\u00a0poezii b\u011b\u017e\u00ed, nejde vyslovit \u2013 nato\u017e napsat.<\/p>\n

Posledn\u00ed odd\u00edl, kter\u00fd dal sb\u00edrce jm\u00e9no, je souborem dev\u00edti \u010drt, p\u0159edstavuj\u00edc\u00edch obraz sv\u011bta zachycen\u00fd d\u011btsk\u00fdma (jednou mladistv\u00fdma) o\u010dima. Tvo\u0159en\u00fd je jednak \u00faheln\u00fdmi kameny sv\u00e9bytn\u00e9 d\u011btsk\u00e9 optiky (Zase zaslechnuto<\/em>, str. 80), jednak kol\u00e1\u017e\u00ed \u201emouder\u201c padaj\u00edc\u00edch z\u00a0dosp\u011bl\u00fdch \u00fast \u2013 se v\u0161\u00ed autenti\u010dnost\u00ed hovorovosti, vulgarity, krajov\u00e9ho v\u00fdraziva. Jde o z\u00e1znam inicia\u010dn\u00edch setk\u00e1n\u00ed se st\u00e1\u0159\u00edm, se smrt\u00ed, s\u00a0hr\u016fzou, s\u00a0naivn\u00ed nad\u011bj\u00ed. Form\u00e1ln\u011b jsou \u010drty stav\u011bny v\u00a0klasick\u00e9m sch\u00e9matu kr\u00e1tk\u00e9 expozice, postupn\u00e9m odhalov\u00e1n\u00ed smyslu a siln\u00e9, pe\u010dliv\u011b p\u0159ipraven\u00e9 pointy, je\u017e \u010dasto spo\u010d\u00edv\u00e1 na jedin\u00e9m slov\u011b (Ale to jm\u00e9no<\/em>, str. 83, S\u016fl nad zlato<\/em>, str. 84). I zde naposled zazn\u00ed \u2013 jak motiv Vltavy t\u011bsn\u011b p\u0159ed soutokem ve Smetanov\u011b symfonick\u00e9 b\u00e1sni \u2013 Har\u00e1kovo \u00fast\u0159edn\u00ed t\u00e9ma bezmoci jazyka: \u201eKam se pod\u011bj\u00ed v\u0161echna ztracen\u00e1, zapadl\u00e1 slova?: Mo\u017en\u00e1 kon\u010d\u00ed jako siroty v\u00a0Maco\u0161e: trn\u00edm od\u011bn\u00e9 zbytky v\u011bt marn\u011b natahuj\u00ed ruku\u201c (T\u00fdnec<\/em>, str. 86)<\/p>\n

Ta slova, co je b\u00e1sn\u00edk nech\u00e1v\u00e1 padat do Macoch a vytla\u010duje je sv\u00fdmi obsedantn\u00edmi t\u0159emi poml\u010dkami, se mu n\u011bkdy pomst\u00ed \u2013 t\u00edm, \u017ee se objev\u00ed, kde nemaj\u00ed b\u00fdt. V\u00a0n\u011bkter\u00fdch ver\u0161\u00edch, kde do\u0159eknou, co je zbyte\u010dn\u00e9, a podkopnou tak ji\u017e dob\u0159e zaklenut\u00fd oblouk b\u00e1sn\u011b: \u201eto aby \u2013 krucin\u00e1l \u2013 \/ nebyly vid\u011bt slzy\u201c, str. 9 nebo nejbrut\u00e1ln\u011bji na str. 22, kde ver\u0161 \u201ea to bol\u00ed\u201c zni\u010d\u00ed celou b\u00e1se\u0148. To je ov\u0161em v\u00a0po\u0159\u00e1dku. Pro\u010d by m\u011bl poka\u017ed\u00e9 vyhr\u00e1t jen b\u00e1sn\u00edk? Pedomancie je fascinuj\u00edc\u00ed z\u00e1pas mezi n\u00edm a slovem. Stoj\u00ed za to ho pozorn\u011b zhl\u00e9dnout!<\/p>\n

Petr Kukal<\/p>\n

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Kniha byla za\u0159azena do programu Bub\u00e1kov \u010dte<\/a> a byla v\u011bnov\u00e1na novostra\u0161eck\u00e9 knihovn\u011b, kde si ji lze p\u016fj\u010dit.<\/p>\n

\n

Pedomancie<\/strong><\/p>\n

    \n
  • Autor: Ivo Har\u00e1k<\/li>\n
  • Nakladatel: SURSUM<\/li>\n
  • ISBN: 978-80-7323-314-3<\/li>\n
  • Ilustrace: Petr Faltus<\/li>\n
  • Rozsah:\u00a0 96 stran<\/li>\n
  • Rok vyd\u00e1n\u00ed: 2017<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

    Text na ob\u00e1lce posledn\u00ed Har\u00e1kovy sb\u00edrky trochu sugeruje obraz poetick\u00e9ho skladi\u0161t\u011b. Editor uv\u00e1d\u00ed, \u017ee b\u00e1sn\u00edk se tu p\u0159edstavuje ve v\u0161ech dosavadn\u00edch poloh\u00e1ch, co\u017e u pou\u010den\u00e9ho \u010dten\u00e1\u0159e v\u017edycky vyvol\u00e1 jistou ostra\u017eitost; …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[14],"class_list":["post-1355","post","type-post","status-publish","format-standard","hentry","category-knihy"],"publishpress_future_action":{"enabled":false,"date":"2026-05-24 05:32:03","action":"category","newStatus":"draft","terms":[],"taxonomy":"category"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/1355","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1355"}],"version-history":[{"count":3,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/1355\/revisions"}],"predecessor-version":[{"id":1358,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=\/wp\/v2\/posts\/1355\/revisions\/1358"}],"wp:attachment":[{"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bubakov.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}