The dream in the language of Đorđe Marković Koder: The forgotten Koder

'There is in the word, in the speech, something holy, which forbids us to make out of it the game of case. To handle properly with language means practise some kind of evocative magic', lucidly concluded Charles Baudelaire (Baudelaire: 194). Starting from this Baudelaire's statement. French sociologist Pierre Bourdieu reminds us to the fact the dedicated oeuvre on the form may give birth to the idea, since just 'within, and by working on the form the evocation (in Baudelaire's strong meaning) of the reality which is more real from sensual mirage which are realised in the simple realistic description'. That makes of the procedure of writing some kind of initialistic ritual, 'whose intention to create in a way conditions suitable for evocation, and the appearance of ideal which is the reality itself' (Bourdieu 2003: 159). By his life and oeuvre, Đorđe Marković Koder confirmed the truth of these quotations. Wrapped up in mystery, and magic power of language to invoke reality, he had left us in heritage the provocative oeuvre whose first and last line of defence was language itself in which, whatever issue is in question, was sunk just through linguistic layer or was stayed on the superficial, hermetic and impermeable for all those which writing and reading consider as 'pure coincidence'… The author of this paper research subject is oneiric layer of Koder's poem. On the basis of four hermetic, and rugged Koder's poems (Romoranka, the Dream of Mother Serbian, Devesilje, Iskon) how many of them left behind a poet, the author forms a hypothesis on the whole poetic works of the poet as immense field of dream, for whose understanding the key is represented by his language. As a passionate polyglot, and expert of twelve foreign languages, lover of fables, incantations, magic healing rituals, and secret people's rituals, in the time precedent of the standardization of Serbian language, Koder was writing in a language which by its incomprehensibility had been rejecting in decades either reading or professional, and scientific audience from himself. Those, who were dealing with Koder's oeuvre, could not commence their research without paying attention to a magic world of Koder's language-romors, and words-beings conforming to him. Relying on the conceptual apparatus being used in the approach of study of dreams, and human reasonable known as lucid dreaming, and which for organizational units of oneiric material takes dream spheres, the author in this paper singles out seven spheres which hierarchy is difficult, and almost impossible to determine, and which interwines, chains, and permeate the entire oeuvre of Koder. These are: 1. The Sphere of Great Mother; 2. Shepherd's Sphere; 3. Star's Sphere; 4. Fauna's Sphere: a. Turtledove (Turtledove's Sphere), b. Rooster (Rooster's Sphere); 5. Angel's and Fairy's Sphere; 6. Genius's Sphere (Sphere of Thunder - Franklin's Sphere) i 7. Floral Sphere.