Ethical and Aesthetical Inconsistency in the Dramas of Milan Ogrizović

We watch three dramas of Milan Ogrizović, Prokletstvo (The Curse) (1906) which he wrote together with Andrija Milčinović, Hasanaginica (1909), Car Dioklecijan (Emperor Diocletian) (1913),47 through the prism of artificial dichotomy, »the young« and »the old«, co-relations between modernism and traditionalism, rebellious individualism and social conformism, just in the sense of an auxiliary, working method in order to come to possible far-reaching consequences – with the help of the antagonism of »the young« and »the old«, then by briefly perceiving Ogrizović’s political adaptability and inconsistent orientation in order to achieve significant ethical confrontation in Prokletstvo (The Curse) and Car Dioklecijan (Emperor Diocletian), two formally related dramatic works and at the same time based on completely different substantial starting points, mostly caused by nonliterary context, and the one that outstands with effigy, Hasanaginica, but in which evenly coexist both conceptual starting prefixes which don’t reveal closeness to none of the artificially created simplification. 47 Iako je drama praizvedena u Splitu 25. X. 1913., a u Zagrebu 6. XII. 1913., prvi put je otiskana uz uvodnik Drage Rubina tek u: Milan Ogrizović: »Car Dioklecijan«, Gluma, I. god, br. 6, Zagreb, 1944., str. 4-42