The character of decadent intellectuals in the novel of Croatian modernity

U svom književnom stvaralaštu Janko Leskovar bio je zaokupljen psihološkom analizom likova koji su nezainteresirani ili nesposobni za životnu borbu. Njegovi Pavao Petrović iz Propalih dvora i Marcel Bušinski iz Sjena ljubavi su moderni, dekadentni intelektualci skloni samoanalizi. Pasivni su i nemaju snage ni za što. Opterećeni su prošlošću, a sadašnjost ih samo ometa te na kraju ne dolazi do ostvarenja ljubavi. U romanima radnja ne teče kronološki već se prekida opisima pejzaža koji se pojavljuje u funkciji ocrtavanja lika, kao što je to prisutno i u Nehajevljevu romanu Bijeg, što dokazuje koliko su autori bili vrsni impresionisti. Bijeg karakterizira izrazita defabularizacija, a prisutni su unutarnji i vanjski monolozi te oblik dnevnika. Nehajevljev Đuro Andrijašević odustao je od školovanja, a na kraju i od zaručnice. Slomila ga je malograđanska sredina, a prikaz te malograđanske sredine je samo okvir za njegovu psihološku analizu. Na kraju se odao alkoholu, a izlaz potražio u morskim dubinama. Iako dekadentni intelektualci imaju sve predispozicije za uspjeh u životu, nemaju snage za taj zadnji korak zbog vlastite neodlučnosti i nemoći te psihičkog opterećenja pa završavaju ili bez snage za borbu ili tragično.In his literary work, Janko Leskovar was preoccupied with psychological analysis of characters who are uninterested or unable to fight for life. His Pavao Petrović from Propali dvori and Marcel Bušinski from Sjene ljubavi are modern, decadent intellectuals who are prone to self-analysis. They are passive and have no power for anything. They are burdened by the past, and the present only distract them and in the end there is no realization of love. In the novels, the work does not run chronologically, but interrupts the descriptions of landscapes that appear in the function of shaping the character, as it is also present in Nehajev's novel Bijeg, which proves how authors excellent impressionists are. Bijeg is characterized by pronounced defabularization and there are internal and external monologue and form of diary. Nehajev's Đuro Andrijašević abandoned the schooling and eventually the fiancee. He was broken by a provincialism surrounding, and the view of this provincialism surrounding is just a framework for his psychological analysis. In the end he left himself out of the alcohol and the exit found in the depths of the sea. Although decadent intellectuals have all the predispositions for success in life, they have no power for that last step because of their own indecision and the inability of that psychic burden and they end up either with no strength to struggle or tragic