Příspěvek pojednává o slovinské recepci Karla Hynka Máchy od druhé poloviny 19. století dodnes. Zvláštní pozornost věnuje těm dimenzím, které souvisejí s kanonizací a kultem českého romantického básníka, rovněž i diskursivním strategiím, které Máchu do slovinského kulturního prostoru začleňují jako "českého Prešerna", slovinskému velikánovi pak dodávaly ekvivalentního národního básníka a kulturního světce bratrského slovanského národa. and This article treats the Slovenian reception of Karel Hynek Mácha from the second half of the nineteenth century till the present day. It places special focus on the dimensions connected to the canonization of the Czech Romantic poet (especially the so-called "Mácha cult"), and the discursive strategies that import Mácha to the Slovenian cultural field as the national poet and cultural saint of the brotherly Slavic nation – the "Czech Prešeren".
The article explores the role played by the motif of stars and sparks in the first to third songs of Macha’s poem May. Stars appear in the first canto, both in reference to stars whose light is going out and in the form of sparks (the reflection of starlight) playing on the waves of the lake. In the second canto, the extinct (dead) star that is falling forever through dark space connotes human life exposed to nothingness. If the sparks on the lake are characterised as ‘lost light’, then, it is said, man is unable to determine which spark is a reflection of which star, and is thereby also unable to reveal the source of the light and of earthly beauty. Humans are thus unable to discern whether earthly beauty and earthly life really have any supernatural (transcendent) source.