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Pišući dajem komad duše uz bezgraničnu ljubav te u tom sebedarju postajem bogata, jer za uzvrat kroz pisanu riječ i gostovanja u novim mjestima i krajevima upoznajem divne ljude i prekrasne domaćine. Tako svaki put posijem sjeme svoga srca na novo mjesto i poželim da posijani susreti povezanosti rastu dok god imam dara i srca za stvaranje.
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Danas ti želim pisati o našem hodu. Ali, prije nego ti na ovom komadiću papira iznesem ono što ja mislim o tom, i stavim svoje riječi u dobro začepljenu bocu te pošaljem prostranstvima vodenim da ti u ruke dopluta, želim znati jesi li ti ikada razmišljao o tom? Jesi se ikada zapitao znači li ikomu to što hodiš i donosi li to ikomu išta, pa makar tragove na putu da osjeti da nije odlutao, ili barem, da ne luta sam. Ne trebaš to reći naglas –čujem te i kada šutiš.
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In addition to the typical, schematized, linear composition which characterizes Petrarch’s love lyrical poetry, new, mannerist tendencies also brought more complex compositional structures which we also notice in some poems of Marin Držic. Analysing the two selected poems (11th and 16th poems from Držic canzoniere), the paper points to the procedures used by this poet when linking various elements into the plot and logical-semantic string.
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On the basis of the poetic characteristics of farce as a drama genre — a dramatized anecdote, a cruel joke, characters determined by their social or marital status, realistic vocabulary, parodic quality, absence of place unity — it is shown that Nikola Nalješkovic’s all three comic plays — Comedy V, Comedy VI and Comedy VII — belong to farces.
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Short stories by Darko Pekica: -Samac eli samica -Večer u mojoj hiži -Z ocen poli mediga -Čine u štali -Lipe i Goli otok
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