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".
This essay was inspired by the thoughts of Daniela Tinková on the role of the Czech Enlightenment. We begin by acknowledging its importance for a deeper understanding of Czech history, before going on to address four problem areas. The first is the significance of Enlightenment efforts in the field of popular education (Volksaufklärung), which in the Czech context necessarily introduced the need for vernacularization. These efforts thus have an important, hitherto undervalued place among the factors that strengthened the impetus of national agitation (the second phase of the Czech national movement). We also consider the role played in the national movement of a clergy trained under the Josephenist system, and the defining characteristics of that clergy.
Ioannis Polemis (1862–1924), a poet and playwright whose work is to be placed in the interim period running from the Romanticism of the First Athenian School to the New Athenian School, wrote, among other things, plays of one or more acts, many of which were staged during his lifetime. His theatrical works include the dramatized fairy tales The Bet, The Bewitched Glass, The Obscure King, and Once Upon A Time, which are distinguished for both their fable-like tones and the elements taken from folk tradition. Folklore and fable together with medieval legends and the people's national history have been fundamental sources for Romanticism since the nineteenth century. In Polemis's dramatized fairy tales, we can find romantic themes such as nature worship, nocturnal landscapes illuminated by the moon, intense local colour, the hero's solitary journey, wandering, the use of symbols, idealized condemned love, death, the absolute, the emotional, the Supreme. However, although the author oft en makes use of these elements of Romanticism, he doesn't reach destructive passion, pessimism, or deep melancholy. He just creates an idyllic atmosphere and uses picturesque descriptions and intense feelings.