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ISSN 1409-6900 | UDK 82+7     Blesok no. 103-104 | volume  | December, 2015



                     Peer-reviewed journal
Blesok no. 103-104December, 2015

Poetic Creation Myth

Skopje Slave Gjorgjo Dimoski The Triptych of Language, 2015, PNV Publications

p. 1
Nataša Avramovska


Poetic Creation Myth

      Translated by: Milan Damjanoski
    The latest poetic work by Slave Gjorgjo Dimoski consists of three lyrical-epic poems. The first poem, “The Triptych of Language” thrice announces the occurrence of Creation in its poems: “The Egg of Language”, “The Logos” and “What Could Be Seen From the Grand Cosmic Stage”. The crystal clear and translucent verses of these poems start off by layering on and piling up the ferment and vortex of the tension from which everything is born, only later to establish the symbolic order of things (in the second poem) and then in a flash in the third poem establishes the exit into the irreversibility of time- the exit into history. The three cantos form three stone portraits, poetic images of the moment before the moment, of the time in which all is about to come into existence, but all is still absent. Then, afterwards out of the blue, all of a sudden – the act is done, all is already there. All. Both poems that follow as an appendix, afterwards, paint in a monomythic style the only hero or anti-hero of history. It is the poems in the Appendix, “Cain” and “Anabasis”, the texts left out of the invocation of the sacred, open this poetic manuscript to an analysis in the context of the “creation myths” (Campbell[1]).
    It would seem superfluous to talk today about myth as the basis for literature. In fact, myth is primarily and singularly a specific kind of poetic craft, a notion already established by Vico, the first modern observer of myth and the creator of the first philosophy of the myth. Romanticism, through its revived interest in folklore, ritual and myth established the myth as the basis of all art in general, especially emphasizing the link between myth and poetry:
    “If poetry is the representation of matter as art in the narrower sense of the form; then one can argue that mythology is absolute poetry, natural poetry. It is the eternal matter from which all forms are born with infinitesimal splendor and variety “(Schelling[2]).
    Regardless of further differentiations of the notion of the myth done by symbolical theories, analytical psychology, structuralism and countless contemporary approaches to mythocriticism, there is a sense that the link between myth and poetry still remains undisputed, being implicitly present even in those views, though not as frequent, which primarily recognize the relation between myth and


1. The terms “monomyth” and “creation myths” are taken from Joseph Campbell (J. Campbell, The Hero with a Thousand faces, 1949; The Masks of God, 1959-1970). Later in the text, these terms are closely more defined according to the context.
2. F. W. von Schelling, Einlitung in der Philosophie der Mitologie, 1856, cited here according to E. M. Meletinski Poetika mita, Beograd: Nolit, стр.20.

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