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Andrej Sládkovič (1820 – 1872) was not only a priest and a poet: he also wrote reports from cultural and political events and provided feedback to the works of others. Among other things, he considerably contributed to the publication of the minutes and diary from the Slovak national assembly held in Martin on 6th and 7th June 1861 where the Memorandum of the Slovak nation was adopted. A. Sládkovič assembled all the materials from the event and prepared them for publication. His goals in this regard were to provide information, preserve the memory of the events, and reflect on the activities of the Slovak nationally-oriented intelligentsia. In this way, he captured the personalities connected to the national movement and events forming national awareness. The article describes the circumstances under which A. Sládkovič participated on the documenting of the memorandum assembly and shows that he contributed not only to the preparation of the materials for publication, but also to the capturing of the atmosphere under which the document was written.

Andrej Sládkovič (1820 - 1872) was not only a priest and a poet: he also wrote reports from cultural and political events and provided feedback to the works of others. Among other things, he considerably contributed to the publication of the minutes and diary from the Slovak national assembly held in Martin on 6th and 7th June 1861 where the Memorandum of the Slovak nation was adopted. A. Sládkovič assembled all the materials from the event and prepared them for publication. His goals in this regard were to provide information, preserve the memory of the events, and reflect on the activities of the Slovak nationally-oriented intelligentsia. In this way, he captured the personalities connected to the national movement and events forming national awareness. The article describes the circumstances under which A. Sládkovič participated on the documenting of the memorandum assembly and shows that he contributed not only to the preparation of the materials for publication, but also to the capturing of the atmosphere under which the document was written. [ABSTRACT FROM AUTHOR]

The article focuses on reflective-meditative poetry the Slovak poet Andrej Sládkovič (1820 – 1872) wrote in the 1860s and early 1970s. His three psalmic adaptations (poems Žalm XLIV [Psalm XLIV], Žalm XXI [Psalm XXI] and Žalm III [Psalm III]) draw on biblical texts dealing with suffering, repentance, the passing of time and eternity. The three poems show the gradual change in the poet’s work – the restless revolutionary attitude changes into thankfulness for the victory and finally to the humble acceptance of life, submitting to God’s will the joyless state of the nation and the poet’s personal suffering. Sládkovič begins with a collective elegy, pleading on behalf of the whole nation, turning to the past and showing devotion and trust in God. In the royal psalm, he uses climax and literary devices involving repetition. The final poem, an elegy of a theologian, is marked by the author’s return to the use of the Czech language and to the melodies from the Protestant hymnal Cithara sanctorum. The elegiac parts resonate with motives of negative emotional states and accusations of enemies. Each poem ends in the lyrical subject making sure he has been heard.

Accounts of the character and deeds of Nikola IV Zrinski (1508 – 1566) who became renowned for his heroic guarding of Szigetvár in 1566 and of the work and life of his great-grandson Nikola VII Zrinski (1620 – 1664), a 17th-century baroque poet, had long played central roles in the building of national awareness and political ideology in Hungary. The Slavic inhabitants of the Kingdom of Hungary were familiar with the general who fought against the Ottoman Empire since the 16th century, but in the 19th century, in the context of the idea of Slavic mutuality and Pan-Slavism, this historical figure became more important. In 1866, Andrej Sládkovič (1820 – 1872) wrote a historical epic Gróf Mikuláš Šubić Zrínsky na Sihoti [Count Nikola Šubić Zrinski at Sziget] in which he described Zrinski’s heroic deeds from the perspective of Pan-Slavic identity in detail. He drew on Ján Kollár’s sonnet “My sme dali Uhrům Zríniho” [We gave Zrinski to the Hungarians] included in his Slávy dcera ([The daughter of Sláva] final version published in 1852). The sonnet asserts that the Slavs left Zrinski to the Hungarians, just like they left Ján Hus to the Germans and Nicolaus Copernicus to the Italians and that they also gave up Zrinski’s legacy. Sládkovič, in his epic poem, returned Zrinski of Szigetvár to the Slavic Pantheon, based on the text of Zrinski the poet.

The poet, translator, literary critic and protestant priest Andrej Sládkovič (1820 – 1872) is generally considered a foremost poet of the Romantic generation. He authored two key works of Slovak literary Romanticism, Marína (1846) and Detvan (1853) – long poems that have significantly influenced further development of literature written in Slovak. There are two basic positions from which literary history views his oeuvre. These are based on the divided standpoints from which the whole period of Slovak literary Romanticism is viewed. Academics either see it as a single, undivided, conservative and nation-centred unit or as a polyphonic and progressive movement open to other European literatures. Advocates of the former opinion interpret Sládkovič’s works as part of national literary history the aim of which is the assertion of folk national identity. The opposing group of scholars emphasises the unique qualities of Sládkovič’s poetry and positions it within wider philosophical and aesthetic contexts of 19th-century European culture. From this point of view, developmental interferences of Slovak Romantic literature are seen as a dynamic part of multifaceted processes of the given period.

The article investigates the relationship between literary aesthetic opinions of Ľudovít Štúr (1815 – 1856) presented in his lectures in the early 1840s and the poetics of Andrej Sládkovič’s (1820 – 1872) Detvan (1846, published in book form in 1853). The article offers an interpretation of the poem through the prism of the topics, motives and poetic devices that might suggest that Sládkovič was acquainted with Štúr’s theoretical work and consciously attempted at a realisation of Štúr’s idea of Slavic poetry. The reading presented in the article pinpoints the latent dramatic potential of Sládkovič’s poem that is coded in its performative elements. Discussing the poem as belonging to the genre of dramatic poetry is justified by such typological characteristics as syncretism of its lyric and epic parts and an increased level of performativity. Detvan as a dramatic poem is discussed in the wider context of Sládkovič’s literary aesthetic views and those of his activities that are linked with dramatic art.

In 1846, one of the most important works of Slovak literary Romanticism, Andrej Sládkovič’s (1820 – 1872) long poem Marína written in the newly-codified Slovak language, was published. Its second edition, which took into account the dynamic development of this young language, played an important role in the publishing tradition of the poem. Sládkovič revised it in cooperation with the editor Karol Viktorin (1822 – 1874) and it was printed in the series Spisy básnické Andreja Sládkoviča [Poetic writings of Andrej Sládkovič]. Since then, several editors attempted at bringing forth their editions of this canonical work. The latest edition was prepared by Cyril Kraus (1928 – 2012) at a time of a rapid development of Slovak textology. The period publishing conditions were also favourable and owing to these, Kraus not only had the largest corpus of sources at his disposal, but could also rely on these relatively developed publishing techniques. His text has become the authoritative source for later editions. The article takes a look at the various editions of Marína and analyses editorial practices used by Jozef Karol Viktorin and Cyril Kraus.

Religious writings, intimately linked to his occupation of protestant priest, are an integral part of Andrej Sládkovič’s (1820 – 1872) oeuvre. They can be grouped into several genres, including religious reflective and occasional poetry, prayers, sermons and sermon outlines. Up until now, little attention has been paid to sermon outlines which he had been writing since 1847. This article analysed a selection of sermon outlines from the liturgical year 1850 – 1851. The analysis focused on their thematic features. These ranged from theological and dogmatic through occasional and ethical to moralising, formulated mainly from the position of the ethics of moral duty. Social-moral qualities as realised in the relationship of an individual towards another (specific) individual (in familial, marital or friendly context), and towards the human being in general as well as the society, world and humankind (in the form of social-moral qualities such as solidarity, help and charity) are central focal points of these texts.

The article focuses on reflective-meditative poetry the Slovak poet Andrej Sládkovič (1820 – 1872) wrote in the 1860s and early 1970s. His three psalmic adaptations (poems Žalm XLIV [Psalm XLIV], Žalm XXI [Psalm XXI] and Žalm III [Psalm III]) draw on biblical texts dealing with suffering, repentance, the passing of time and eternity. The three poems show the gradual change in the poet’s work – the restless revolutionary attitude changes into thankfulness for the victory and finally to the humble acceptance of life, submitting to God’s will the joyless state of the nation and the poet’s personal suffering. Sládkovič begins with a collective elegy, pleading on behalf of the whole nation, turning to the past and showing devotion and trust in God. In the royal psalm, he uses climax and literary devices involving repetition. The final poem, an elegy of a theologian, is marked by the author’s return to the use of the Czech language and to the melodies from the Protestant hymnal Cithara sanctorum. The elegiac parts resonate with motives of negative emotional states and accusations of enemies. Each poem ends in the lyrical subject making sure he has been heard. [ABSTRACT FROM AUTHOR]

Accounts of the character and deeds of Nikola IV Zrinski (1508 - 1566) who became renowned for his heroic guarding of Szigetvár in 1566 and of the work and life of his great-grandson Nikola VII Zrinski (1620 - 1664), a 17th-century baroque poet, had long played central roles in the building of national awareness and political ideology in Hungary. The Slavic inhabitants of the Kingdom of Hungary were familiar with the general who fought against the Ottoman Empire since the 16th century, but in the 19th century, in the context of the idea of Slavic mutuality and Pan-Slavism, this historical figure became more important. In 1866, Andrej Sládkovič (1820 - 1872) wrote a historical epic Gróf Mikuláš Šubić Zrínsky na Sihoti [Count Nikola Šubić Zrinski at Sziget] in which he described Zrinski's heroic deeds from the perspective of Pan-Slavic identity in detail. He drew on Ján Kollár's sonnet "My sme dali Uhrům Zríniho" [We gave Zrinski to the Hungarians] included in his Slávy dcera ([The daughter of Sláva] final version published in 1852). The sonnet asserts that the Slavs left Zrinski to the Hungarians, just like they left Ján Hus to the Germans and Nicolaus Copernicus to the Italians and that they also gave up Zrinski's legacy. Sládkovič, in his epic poem, returned Zrinski of Szigetvár to the Slavic Pantheon, based on the text of Zrinski the poet. [ABSTRACT FROM AUTHOR]

The article is a contribution to the research of Slovak-Croatian literary and cultural relations. It focuses at the reception of Andrej Sládkovič (1820 -- 1872) in the Croatian context. The second half of the 19th-century is investigated through the analysis of contributions to Croatian literary magazines and newspapers such as Danica, Dragoljub, Vienac, Slavonac and Nada. The analysis of the 20th-century and contemporary reception looks at texts published in various magazines, books and anthologies which contain translations by Luko Paljetak, Dubravka Dorotić Sesar and others. Since Sládkovič did not have any personal contacts with Croatian intellectuals of the time, the presence of his work in the 19th-century Croatian cultural space was scarce. Wider recognition of his oeuvre came much later and in the late 20th-century, it was intensified by the establishment of a Slovak studies programme at the University of Zagreb (as part of Czech studies in 1994 and as a separate programme in 1997). While in the 19th century, period magazines and newspapers -- albeit sporadically -- do mention Sládkovič, but do not contain any translations of his work, nowadays, translations are available, but are usually only known in the narrow academic circles of (mainly) Slavic studies experts. [ABSTRACT FROM AUTHOR]

In 1846, one of the most important works of Slovak literary Romanticism, Andrej Sládkovič's (1820 -- 1872) long poem Marína written in the newly-codified Slovak language, was published. Its second edition, which took into account the dynamic development of this young language, played an important role in the publishing tradition of the poem. Sládkovič revised it in cooperation with the editor Karol Viktorin (1822 -- 1874) and it was printed in the series Spisy básnické Andreja Sládkoviča [Poetic writings of Andrej Sládkovič]. Since then, several editors attempted at bringing forth their editions of this canonical work. The latest edition was prepared by Cyril Kraus (1928 -- 2012) at a time of a rapid development of Slovak textology. The period publishing conditions were also favourable and owing to these, Kraus not only had the largest corpus of sources at his disposal, but could also rely on these relatively developed publishing techniques. His text has become the authoritative source for later editions. The article takes a look at the various editions of Marína and analyses editorial practices used by Jozef Karol Viktorin and Cyril Kraus. [ABSTRACT FROM AUTHOR]

The article investigates the relationship between literary aesthetic opinions of Ľudovít Štúr (1815 -- 1856) presented in his lectures in the early 1840s and the poetics of Andrej Sládkovič's (1820 -- 1872) Detvan (1846, published in book form in 1853). The article offers an interpretation of the poem through the prism of the topics, motives and poetic devices that might suggest that Sládkovič was acquainted with Štúr's theoretical work and consciously attempted at a realisation of Štúr's idea of Slavic poetry. The reading presented in the article pinpoints the latent dramatic potential of Sládkovič's poem that is coded in its performative elements. Discussing the poem as belonging to the genre of dramatic poetry is justified by such typological characteristics as syncretism of its lyric and epic parts and an increased level of performativity. Detvan as a dramatic poem is discussed in the wider context of Sládkovič's literary aesthetic views and those of his activities that are linked with dramatic art. [ABSTRACT FROM AUTHOR]

The poet, translator, literary critic and protestant priest Andrej Sládkovič (1820 -- 1872) is generally considered a foremost poet of the Romantic generation. He authored two key works of Slovak literary Romanticism, Marína (1846) and Detvan (1853) -- long poems that have significantly influenced further development of literature written in Slovak. There are two basic positions from which literary history views his oeuvre. These are based on the divided standpoints from which the whole period of Slovak literary Romanticism is viewed. Academics either see it as a single, undivided, conservative and nation-centred unit or as a polyphonic and progressive movement open to other European literatures. Advocates of the former opinion interpret Sládkovič's works as part of national literary history the aim of which is the assertion of folk national identity. The opposing group of scholars emphasises the unique qualities of Sládkovič's poetry and positions it within wider philosophical and aesthetic contexts of 19th-century European culture. From this point of view, developmental interferences of Slovak Romantic literature are seen as a dynamic part of multifaceted processes of the given period. [ABSTRACT FROM AUTHOR]

Religious writings, intimately linked to his occupation of protestant priest, are an integral part of Andrej Sládkovič's (1820 -- 1872) oeuvre. They can be grouped into several genres, including religious reflective and occasional poetry, prayers, sermons and sermon outlines. Up until now, little attention has been paid to sermon outlines which he had been writing since 1847. This article analysed a selection of sermon outlines from the liturgical year 1850 -- 1851. The analysis focused on their thematic features. These ranged from theological and dogmatic through occasional and ethical to moralising, formulated mainly from the position of the ethics of moral duty. Social-moral qualities as realised in the relationship of an individual towards another (specific) individual (in familial, marital or friendly context), and towards the human being in general as well as the society, world and humankind (in the form of social-moral qualities such as solidarity, help and charity) are central focal points of these texts. [ABSTRACT FROM AUTHOR]

The analytical-interpretative study examines the depiction of literary characters in the lyrical-epic work Detvan written by Andrej Sládkovič. It interprets the ingenious system of relations between the Slovak nation represented by the main character Martin and King Matthias Corvinus. The study notes the shifts in meaning and symbolization of relationships in this work and reveals the influence of national ideology in the creation of characters and their relations. It proves that the relationship between the king and the main character is a poetic expression of the national program, and that the story line is determined by the Slovak autostereotype of a peaceful nation. The article was written on the occasion of the 200th anniversary of Andrej Sládkovič’s birth. [ABSTRACT FROM AUTHOR]

The critical essay is a part of doctoral thesis Topos of the Body in the Poetry of Slovak Romanticism (Santo Chalúpka. Ján Botto. Janko Král, Samo Bohdan Hroboň). It is oriented on the new point of view from which to look at the Slovak Romanticist poetry through tracing the functional use of the topos of the body and its physicality. The starting point of the essay is an attempt to define the attitude of the particular authors towards knowing the body and physicality and to answer the question whether the body in their works is a sign of physicality. The background of the concept of the author’s attitude to motifs of the body and physicality were contemporary relations subject - object, part - whole. The essay point to contexts in which motifs of the body are present or absent and what semiotic load they bear. Contemporary teleologization of literary work made an immense impact of Romantical attitude towards the body and physicality. Slovak Romantical rhetoric (especially Chalúpka, Sládkovič and Botto) covers that which is spontaneous, biological and consciously works with characters as culturally modelled, unified dolls without giving them the space for their own individual expression. The exception is represented by a few margin characters (e.g. J. Kráľs dark „weird“ characters or Hroboň´s old man - beggar).