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Slovenska poezija je prišla k ruskemu bralcu v drugi polovici 19. stoletja. Prevajanje slovenske poezije v ruščino je bilo najbolj plodno v t. i. sovjetskem obdobju: med letoma 1948 in 1990 je bilo v ruščino prevedenih več kot sedemdeset slovenskih avtorjev, med drugimi France Prešeren, Ivan Cankar, Oton Župančič. Sovjetski/ruski prevajalci so prevedli dve antologiji slovenske poezije dvajsetega stoletja, ki sta bili objavljeni leta 1989 in leta 2008. Slovene poetry reached the Russian reader in the second half of the 19th century. One of the most effective in this area was the Soviet period: from 1948 to 1990 more than seventy Slovene authors were translated into Russian, including such significant figures as France Prešeren, Ivan Cankar and Oton Župančič. One result of the Soviet/Russian translators' activities was two anthologies of twentieth century Slovene poetry published in 1989 and 2008.

Pesnica Irena Žerjal je z verznim snovanjem začela v šestdesetih letih in se vključila v povojno obdobje tržaške poezije, ki se je razvila v konfrontaciji z literarnim ustvarjanjem v osrednjeslovenskem prostoru. Njena "pesniška spregovoritev" se ne prilagaja kolektivnim identifikacijam, temveč izhaja iz notranjega bivanja. Njen personalistični horizont zavedanja se širi do nadosebnega. The poet Irena Žerjal started composing verses in the 1960s and is one of the representatives of postwar Triestine poetry, which developed by confronting literary creation in Slovenia. Her poetry does not adjust to the collective identification, but it originates from her inner being. Her personalised horizon of awareness reaches a dimension beyond her personal sphere.

Prispevek predstavlja nekatere ugotovitve iz raziskave o ključnih zmožnostih pri pouku književnosti, ki je pokazala, da branje nacionalne književnosti ne vpliva bistveno na spoštovanje gimnazijcev do nacionalnega kulturnega bogastva niti ne povečuje zanimanja za branje slovenskih klasikov v prostem času. Ob primeru Prešernove Glose podrobneje predstavi težave pri razumevanju klasične poezije, zaključuje pa s primerom razvijanja zmožnosti literarnega branja ob slovenski klasični poeziji. The paper presents some results of research into key competencies in teaching literature. This has revealed that reading national literature does not significantly affect high-school students' respect for the national cultural heritage moreover, it does not increase students' interest in reading Slovene national classics in their free time. The example of the poem Glosa by France Prešeren reveals some difficulties of understanding classic poetry the paper is concluded with an example of the development of literary competencies by reading classic Slovene poetry.

Ivana Sadarja kot pesnika uvrščamo v slovensko moderno. Pri analizi njegove pesniške zbirke Človek kakor drugi sem se osredotočila na motivno tematsko analizo, interpretacijo izbranih pesmi, analizo metaforike, analizo pesemskih in kitičnih oblik, jezikovno-slogovno analizo ter primerjavo s pesmimi Dragotina Ketteja, ki je bil Sadarjev vzornik. Oba sta poezijo uporabljala kot sredstvo za izražanje čustev in občutij, v njih razkrivala svoja razmišljanja in poglede na življenje, predvsem Sadar pa je bil pri določenih temah vendar bolj zadržan. V svoje pesmi je vključeval različne motive, najbolj pa izstopajo motivi iz narave. Tako sem največ pesmi uvrstila v motivno tematski sklop razpoloženjska tematika in impresije iz narave, ostale kategorije pa so še verska in duhovna, družinska in bivanjska, ljubezenska, vojna, priložnostna, domovinska in pesniška tematika. As a poet, Ivan Sadar is a representative of Slovenian modernism. In the analysis of his poetry collection Človek kakor drugi, I focused on the motivic-thematic analysis, interpretation of selected poems, analysis of metaphoric language, analysis of poem and stanza forms, linguistic-stylistic analysis, and comparison with the poems of Dragotin Kette, who was Sadar’s role model. Both used poetry as a means of expressing emotions and feelings, revealing their thoughts and views on life, but Sadar in particular was more restrained on certain subjects. He included a variety of motifs in his poems, but the ones that stand out the most are those from nature. Thus, I have classified most of the poems under the motivic-thematic category ‘mood themes and nature impressions’ other categories include religious and spiritual, family and living, love, war, special occasion, national and poetic themes.

Haiku je kratka japonska pesniška oblika, ki jo je v 17. stoletju utrdil pesnik Macuo Bašo. Praviloma je pesem trivrstična in vsebuje sedemnajst zlogov, ki so razporejeni po načelu 5 – 7 – 5. V treh kratkih stihih je zgoščen trenutek, največkrat iz narave, ki se povezuje z dogajanjem v človekovi notranjosti. Magistrska naloga se začne s strnjenim pregledom zgodovinskega razvoja in okoliščin, ki so vplivale nastanek japonske države. Ob tem je v pregled sočasno vključen tudi razvoj japonske lirike, saj je ta ključen za razumevanje in kasnejšo umestitev haiku poezije. Jedro naloge predstavlja popis haiku poezije in se osredotoča na njen izvor, razvoj, jezik, filozofsko doktrino ter njen vpliv na svetovne literarne tokove. V nadaljevanju se fokus dela usmeri k fenomenu haikuja v slovenskem književnem prostoru, natančneje k poeziji. Skozi predstavitev najbolj prepoznavnih slovenskih »haiku avtorjev« skuša naloga prikazati razcvet in vpliv dotične japonske pesniške oblike. Zadnji del naloge pa se podrobneje posveča izpostavljenim podobnostim oz. razlikam med »japonskim« in »slovenskim« haikujem in njegovi umeščenosti v slovensko književnost. Haiku is a short Japanese poetic form, established in the 17th century by the poet Matsuo Başo. Traditional Japanese haiku consists of three phrases and contains seventeen syllables, arranged on the principle of 5 – 7 – 5. The master's thesis begins with an overview of the historical development and circumstances that influenced the formation of the Japanese state. At the same time, the development of Japanese lyric is included in the review and it is crucial for the understanding and later placement of haiku poetry. In the continuation the thesis presents an inventory of haiku poetry in Japan. It focuses on its origins, formation and development, language, philosophical doctrine and its impact on the world literary trends. The core of the thesis is the phenomenon of haiku in the Slovenian literary space. Through the presentation of the most recognizable Slovenian "haiku authors", the master's thesis tries to show the flourishing and influence of the Japanese haiku form. The last part of the master's thesis is devoted to the highlighted similarities or differences between “Japanese” and “Slovenian” haiku and its place in the Slovene literature.

Magistrsko delo prikazuje poetiko sodobne pesnice Ifigenije Simonović s pomočjo jezikovnostilistične analize njenega pesniškega opusa za odrasle. Teoretični del opredeljuje jezikovno stilistiko, značilnosti umetnostnih besedil ter umetnostnega jezika. Praktični del prikazuje temeljne značilnosti avtoričinega sloga ter njegovo spreminjanje in razvoj skozi čas. Delo se osredotoča na vlogo in učinke rabljenih jezikovnih in pesniških sredstev ter na povezavo med jezikovnim izrazom oz. obliko in vsebino pesmi. Vsaka pesniška zbirka je analizirana z vidika zunanje zgradbe, zvočnega, besednega in stavčnega sloga, izpostavljeni pa sta tudi medbesedilnost in frazeologija. V magistrskem delu so predstavljene tudi temeljne vsebinske značilnosti poezije Ifigenije Simonović, zato se jezikovnostilistična analiza pogosto povezuje in prepleta z literarno interpretacijo ter literarnostilistično analizo. This master's thesis shows the poetics of contemporary poet Ifigenija Simonović with the help of a linguo-stylistic analysis of her poetic oeuvre written for adult readers. The theoretical part defines linguistic stylistics, the characteristics of artistic texts and artistic language in general terms. The practical part shows the fundamental characteristics of the author's style, as well as its changes and development over time. The thesis focuses on the roles and effects of the linguistic and poetic devices used by the author, as well as on the connection between the linguistic expressions, including the connection between the forms and contents of the poems respectively. Each poetry collection is analysed from the point of view of the external structure and from the point of view of the author’s soundscape style, verbal style and the style of her sentence structures, while there is also an emphasis on intertextuality and phraseology. The master's thesis also presents the fundamental characteristics of the contents in Ifigenija Simonović's poetry, which is why the linguo-stylistic analysis is often connected to and intertwined with the literary interpretation and literary analysis.

Diplomsko delo skuša na podlagi temeljnih generativnometričnih teorij, ki so v prvem delu predstavljene, odgovoriti na vprašanje uporabnosti generativne metrike za analizo slovenskega verza. Uvod je namenjen predstavitvi generativne fonologije, iz katere generativna metrika teoretsko in metodološka izhaja. Drugi del vključuje poskus generativnometrične analize Prešernovega in Kettejevega jambskega enajsterca, za potrebe te diplomske naloge pa so bile izvedene tudi statistične verzne analize, ki tako dopolnjujejo že obstoječa dognanja o slovenskem jambskem enajstercu. Based on the basic generative metric theories presented in the first part of the thesis, it tries to answer the question of the applicability of generative metrics for the analysis of Slovenian verse. The introduction is devoted to the presentation of generative phonology, from which generative metrics derive theoretically and methodologically. The second part includes an attempt at a generative metric analysis of Prešeren's and Kette's iambic pentameter, and for the purposes of this thesis, statistical verse analyses have also been carried out, thus complementing the already existing knowledge on the Slovene iambic pentameter.

Diplomsko delo obravnava poezijo Franceta Balantiča in njegov odnos do ljudskega pesništva. Balantičev opus se uvršča v magični ali duhovni realizem s prvinami religioznega ekspresionizma. V njegovih pesmih je mogoče najti tudi nekatere značilnosti ljudskega pesništva in frazeološke zveze ter določene motive iz ljudskih pravljic in starih verovanj. The thesis deals with the poetry of France Balantič and his attitude to folk poetry. Balantič's work is classified as magical or spiritual realism with elements of religious exspressionism. In his poems, it is also possible to find some features of folk poetry and phraseological units, as well as certain motifs from folk tales and old religion.

Za Stritarjevo zgodnjo poezijo je značilno izpovedovanje svetobolja, ki je v 19. stoletju prežemalo celotno Evropo. Ta čas zaznamuje filozofija pesimizma, ki se je oddaljil od tradicionalnega krščanskega pojmovanja sveta in se pod Arthurjem Schopenhauerjem oblikoval v miselni tok, kateremu je sledilo mnogo umetnikov, med drugimi tudi Josip Stritar. Njegovo svetobolje se je kazalo kot razklanost med idealnim altruističnim življenjem in realnostjo, polno bolečine in nesmiselnega trpljenja. Tak svet je v svoji poeziji označil kot dolino solz – ta pa je rešitev iz tegob videla šele v posmrtnem življenju pri Bogu. Kljub temu Stritar ni bil pravi solznodolinec, saj v odrešenje po smrti ni verjel iskreno, kar je v takratnem kulturnem okolju botrovalo velikemu neodobravanju in kritiki katoliških veljakov. Čeprav ga močno povezujejo s Schopenhauerjevo šolo, sta bili večina njegove melanholije in svetovnega nazora plod lastnega razmišljanja in osebnih izkušenj, ki so izpostavljene v pesmih, nastalih med letoma 1869 in 1880, kar bom predstavila v svojem diplomskem delu. The expression of Weltschmerz, an emotion enveloping nineteenth-century Europe, is characteristic of Stritar’s early poetry. It was a time marked by Pessimism, a philosophy that distanced itself from the traditional Catholic worldview. Arthur Schopenhauer developed it into a doctrine, which was followed by many artists, including Josip Stritar. His Weltschmerz presented itself as a rift between an ideal, altruistic life, and reality, which is filled with pain and senseless suffering. In his poems, he described such a world as a “vale of tears” – a world that does not find salvation from its ills until the afterlife in God’s presence. Nevertheless, Stritar was not a true representative of the vale-of-tears concept, as he did not sincerely believe in finding salvation, which led to great disapproval and criticism from Catholic leaders in the cultural milieu at the time. Although he was strongly associated with being a student of Schopenhauer’s school of thought, most of his melancholy and worldview were products of his own reflection and personal experience, highlighted in poems written between 1869 and 1880, which I aim to explore further in my thesis.

Naloga na kratko razišče teoretske osnove opisnega pesništva narave v evropskem razsvetljenstvu in jih skuša prilagoditi specifikam slovenskega stanja v tovrstni poeziji, ki od njega v marsičem odstopa. Z iskanjem konkretnih pesmi v nekaterih periodikah 19. stoletja skuša najti reprezentativen nabor poezije, ki omogoča analizo in razvrstitev del na najpogostejše podenote glede na tematsko usmeritev in morebitno sporočilnost. Pesmi skuša aktualizirati tudi z ekokritiško metodo analize, ki raziskuje predvsem vlogo narave v tekstih in odnos ljudi do okolja. This thesis briefly explores the teoretical background of descriptive nature poems of European Enlightenment and aims to adjust it to the specifics of such poetry in Slovenia, where it differs from its European equivalent. By searching for examples in some periodicals of the 19th century it aims to find a representative corpus of poetry, that would enable an analysis and clasification of these texts by their most frequent subunits according to their themes and ideas. The thesis then aims to revive interest in those poems by analysing them through the ecocritical method, that explores mainly the role of nature in literature and the relationship beetwen mankind and its environment.

Diplomska naloga obravnava taboriščno poezijo na Slovenskem, osredotoči pa se na pesnika Lojzeta Krakarja in analizo njegovih taboriščnih pesmi. V zvezi s tem je najprej orisan kontekst koncentracijskih taborišč druge svetovne vojne. Taboriščna poezija je v tesni povezavi s pesništvom narodnoosvobodilnega boja, zato je tudi slednjemu namenjeno eno izmed poglavij z opisom njegovih značilnosti. Poglavje o taboriščni poeziji pa analizira vzroke za njeno neobravnavanost in zamolčanost ter predstavi njene bistvene značilnosti. The thesis deals with the camp poetry in Slovenia. It focuses on the Slovenian poet Lojze Krakar and analysis of his camp poems. Firstly, the context of concentration camps during the Second World War is outlined. The camp poetry is closely associated with the poetry of the national liberation struggle, therefore one of the chapters describes its main charateristics. The chapter about camp poetry reveals the reasons why the poetry wasn't discussed and presents its fundamental features.

Rima kot eno temeljnih sredstev pesniškega izražanja v slovenski literarni teoriji in zgodovini ni tako raziskana, kot bi pričakovali. Magistrsko delo zato podaja strnjen pregled lastnosti rime, tj. definicijo, pomen, funkcijo in tipologijo, dodaja pa tudi kratko zgodovino. Na podlagi literarnozgodovinskega gradiva je v nalogi analizirana rima dvanajstih najvidnejših avtorjev od Pisanic, ki jih pojmujemo kot prvi slovenski pesniški almanah, pa do konca moderne, saj je v tem časovnem obdobju pojavnost rime največja, poudarek pa je na moški rimi. Pri vseh avtorjih je obravnavan največji možen obseg celotnega opusa, skupno od nekaj sto do nekaj tisoč verzov. Magistrska naloga v praktičnem delu podaja pogostnostno analizo moške, ženske in daktilske rime, prek izpisa moških rim iz del obravnavanih avtorjev pa tudi razčlenitev rime z besednovrstnega in naglasnega vidika. Rhyme, as one of the fundamental means of poetic expression in Slovenian literary theory and history, is not as well-researched as one might expect. This master's thesis therefore offers a concise overview of the properties of rhyme, ie. the definition, meaning, function and typology while also offering a brief history. On the basis of literary-historical material, the paper analyses the rhyme of the 12 most prominent authors from Pisanice, which is considered the first Slovenian poetry almanac, to the end of Modernism, as in this period, the occurance of rhyme is greatest, with emphasis on masculine rhyme. For all authors, their entire opus, a total of several hundred to several thousand verses, is discussed. In the practical part, the master's thesis presents the frequency analysis of masculine, feminine and dactyl rhymes. Furthemore, the thesis will analyse rhymes from the word-type and accent viewpoint by evaluating excerpts of masculine rhymes from the works of the relevant authors.

Diplomsko delo skuša odgovoriti na vprašanje, kaj se da ugotoviti s primerjavo prvih treh pesniških zbirk avtorjev Svetlane Makarovič in Gregorja Strniše. Predpostavlja, da med njuno poezijo obstajajo sorodnosti in znotraj njih skuša najti razlike. Sprva začrta osnovne poteze prvih treh zbirk obeh avtorjev ter nakaže značilnosti njunega nadaljnjega dela. V njunem zgodnjem delu izpostavi sorodnosti, kot so črpanje iz ljudskega izročila na oblikovni in motivno-tematski ravni, podobni neljudski motivi in odklon od antropocentrizma, prav tako pa izpelje temeljno razliko v tematski usmerjenosti poezije obeh avtorjev. V središču Strniševe poezije je filozofsko vprašanje ustroja sveta, Makarovič pa v ospredje postavlja etična družbena vprašanja. Diploma nadalje obravnava dramo Samorog, pri kateri sta sodelovala oba avtorja, ter prikaže sorodnosti med dramo in njunimi ostalimi deli. Pri Strniši gre za v kontekst njegove filozofije o vesoljski zavesti umeščeno idejo o dvojnosti videza in resnice ter deloma idejo o norosti kot poti do uvida transcendence. Slednji dve se pojavita tudi pri Makarovič, le da gre tu pri dvojnosti videza in resnice za kritiko človekove zlaganosti, pri ideji o norosti pa gre predvsem za kritiko družbenega odziva nanjo. The diploma thesis tries to answer the question of what can be established by the comparison of the first three poetry collections of the authors Svetlana Makarovič and Gregor Strniša. It assumes that similarities between their poetry exist, and tries to discover differences within those similarities. Initially, it outlines the essential characteristics of the first three collections of both authors and indicates the characteristics of their further work. In their early work, it finds similarities, such as drawing from folk tradition on a formal and motivic-thematic level, similar non-folk motives, and a deviation from anthropocentrism, as well as derives a fundamental difference in the thematic orientation of the poetry of both authors. In the center of Strniša’s poetry is a philosophical question of the structure of the world, while Makarovič focuses on etihical social issues. The thesis further discusses the play Unicorn, which is a result of their cooperation, and shows the similarities between the play and the poetic opus of both authors. The parallels between Unicorn and Strniša’s other works are the idea of the duality of appearance and truth, placed in the context of his philosophy of cosmic consciousness, and partly the idea of insanity as a path to the insight of transcendence. The latter two similarities also appear in the works of Makarovič. The duality of appearance and truth manifests as a critique of human falsehood, while the idea of insanity plays a role within the critique of the social response to it.

Časopis Kmetijske in rokodelske novice je deloval med letoma 1843 in 1902. Izhajal je enkrat na teden, med letoma 1852 in 1857 pa dvakrat tedensko. Prvotno je bil časopis namenjen izobrazbi kmečkega in obrtniškega prebivalstva, a je kmalu postal glasilo širokih razsežnosti. Poleg različnih člankov je bilo v Novicah objavljeno tudi leposlovje, najvidnejšo vlogo je imela poezija. Besedila pesmi sem glede na tematiko razdelila na devet glavnih sklopov: bivanjska, domovinska in domoljubna, impresije iz narave, ljubezenska, poetološka, poučna in vzgojna, priložnostna, šaljiva in zbadljiva ter zgodovinska tematika. V pesmih prevladujeta priložnostna (oseminšestdeset pesmi) in bivanjska tematika (šestinšestdeset pesmi), najmanj zastopani pa sta poetološka in zgodovinska tematika. The newspaper Kmetijske in rokodelske novice was published between years 1843 and 1902. It was published weekly, with the exception of years between 1852 and 1857 when it was issued twice a week. At first, the newspaper was intended to educate farming and craftsmen population, but it quickly became a bulletin of wide dimensions. Along with various articles, the newspaper published belles lettres as well, with poetry being the most apparent. The lyrics of poems in the thesis are divided in nine main compounds or themes: existential, patriotic, nature-centered, love, poetological, educational, occasional, humorous and teasing, and historical. Occasional (sixty-eight poems) and existential (sixty-six poems) themes prevail, while the least represented poem themes are poetological and historical.

Diplomsko delo obravnava družbeno angažiranost v poeziji – na splošno in specifično. Najprej v kratkem zgodovinskem pregledu krešočih mnenj predstavim stališče, da je političnost v poeziji možno obravnavati kot validen aspekt poezije. Zatem obravnavam teorijo Jacquesa Rancièra, Iztoka Osojnika, Miklavža Komelja, Dušana Pirjevca ter Richarda Jacksona in ugotavljam, kaj sestavlja kakovostno politično poezijo. V praktičnem delu apliciram ugotovitve na poezijo Braneta Mozetiča. Z analizo vseh njegovih dosedanjih pesniških zbirk izluščim družbenost v vsaki in ugotovim, da Brane Mozetič izraža karakter časa, preiskuje družbo in je aktiven na področju gejevske kulture. This thesis deals with civic engagement in poetry - in general and specifically. First, through a brief historical review of opposing opinions, I present the position that politics can be considered as a valid aspect of poetry. Then, I explore the theory of Jacques Rancière, Iztok Osojnik, Miklavž Komelj, Dušan Pirjevec and Richard Jackson, and establish what constitutes quality political poetry. In the practical part, I apply the findings to the poetry of Brane Mozetič. Through the analysis of all his poetry collections so far, I extract the social aspect in each of them and find that Brane Mozetič expresses the character of his time, investigates society and is active in the field of gay culture.

With genre destignation, authors influence the literary reception and at least partially literary analysis. The article examines reasons for the designation "long poem", used for their texts by the contemporary Slovene poets Gregor Strniša and Boris A. Novak. Using the terms "long poem", five-part poem", and "ballad", Strniša after the fact debated with the established characterization of his texts by literary scholars as lyric sequences. Novak termed a long poem Kamnita Afrodita, one of three texts in his book Hči spomina (1981), as well as the book Tisoč in en stih (1982), which prompted the same designation for two more of his texts from the book Hči spomina. Avtorji z literarnovrstnimi oznakami lastnih besedil vplivajo na literarno sprejemanje in vsaj deloma tudi na literarno obdelovanje. Članek presoja razloge za poimenovanje pesnitev, ki sta ga za svoja besedila uporabila sodobna slovenska pesnika Gregor Strniša in Boris A. Novak. Strniša je s poimenovanji "pesnitev", 'petdelna pesem" oziroma "balada" naknadno polemiziral z že ustaljenim kritiškim in literarnozgodovinskim označevanjem njegovih besedil kot lirskih ciklov. Novak pa je za pesnitev opredelil Kamnito Afrodito, ki je eno od treh besedil v knjigi Hči spomina (1981), prav tako pa tudi knjigo Tisoč in en stih (1982), kar je spodbudilo literarnovedno opredelitev še dveh besedil iz knjige Hči spomina.

Challenges in the reception of Prešeren's poems were already pointed out during the poet's lifetime. Extensive explanations of his poems and reminders about erroneous understanding demonstrate that even intellectuals have difficulties with Prešeren's poetry. Boža Krakar Vogel's study confirmed the very poor cognitive response even by the students of Slovene, despite the fact that these students highly value Prešern's poetry, which can be explained by the mythical dimensions of the national poet. The comparison between Krst pri Savici (The Baptism on the Savica) and Jenko's Ognjeplamtič shows why Prešeren's romantic poem is more challenging fot reception, which was confirmed by the empirical study conducted in the first year of a secondary school, the outcame of which showed an exceptionally poor understanding of the Baptism. Prva mnenja o recepcijski zahtevnosti Prešernovih pesmi so se pojavila že v času njegovega življenja, obsežne razlage pesmi in opozorila na napake v razumevanju pa dokazujejo, da imajo težave s Prešernovo poezijo tudi izobraženci. Raziskava Bože Krakar Vogel je potrdila, da slab kognitivni odziv celo pri študentih slovenistike, s tem da le-ti Prešernove pesmi vseeno visoko vrednotijo, kar lahko pojasnimo z mitičnimi razsežnostmi nacionalnega pesniškega prvaka. Primerjava Krsta pri Savici z Jenkovim Ognjeplamtičem razkriva, zakaj je Prešernova romantična pesnitev recepcijsko bolj zahtevna, to spoznanje pa potrjuje empirična raziskava v prvem letniku ekonomske gimnazije, ki je izpričala izjemno slabo razumevanje Krsta pri Savici.

The purpose of this article about the "merry" Kette is not to give a detailed analysis, but to point out his distiction in the poetic world of the Moderna; the fact that he and Župančič stepped to the other, bright, and unbound hemisphere; and that Cankar, despite his unquestionable greatness, was not its only "trademark". Namen tega prispevka o 'veselem' Ketteju ni podrobnejša analiza, temveč opozorilo na njegovo distinkcijo, drugačnost v pesniškem svetu moderne; na to, kako sta z Župančičem stopila na njeno drugo, svetlo, svobodno poloblo; kako ob vsej svoji nesporni veličini Cankar ni njena edina 'blagovna znamka'.