THE POETIC CREATION OF LJUDMILA POLJANEC

Ljudmila Poljanec je živela in ustvarjala na prehodu iz 19. v 20. stoletje. Ustvarjala je v obdobju slovenske moderne (1899–1918), katerega poglavitna značilnost je slogovni pluralizem. V njeni zbirki najdemo predvsem značilnosti impresionizma. Najpogosteje zasledimo občutljivost na barvne, slušne in svetlobne vtise ter navduševanje nad naravo in včutevanje v njo. Živalska in rastlinska motivika je največkrat uporabljena v skladu s tradicionalno rabo in simbolnimi pomeni. Glavna tema pesniške zbirke je ljubezen, ki je največkrat nedoživeta/neizživeta. Čustveni senzualizem in erotičnost sta neuresničena kakor tudi ljubezen med moškim in žensko. Ženska je največkrat razočarana v ljubezenskem čustvu in hrepeni po ljubezni, toda njeno hrepenenje ni strastno, drzno, drastično in burno, ampak nežno in umirjeno. Takšne ljubezni je sposobna le ženska z nežnim in umirjenim srcem. To obdobje je tudi razdvojeni čas, ko imamo na eni strani proces osamosvajanja žensk, na drugi strani pa pritisk po ohranjanju tradicionalnih družbenih in družinskih vrednot. Ravno zaradi tradicionalnih vrednot je bilo nesprejemljivo pesniti o ljubezni med dvema ženskama, tj. lezbični ljubezni, ki jo zasledimo v ciklu, namenjenemu baronesi Sonji, saj so takšno ljubezen označevali kot zdravstveni problem. Razpoloženjska tema, povezana z ljubezensko, predvsem s hrepenenjem po ljubezni in razočaranjem nad neizživeto ljubeznijo, je kvantitativno druga najpogostejša tema. V zbirki se pojavi še domovinska tema, s katero avtorica izrazi razočaranje nad slovenstvom, saj ob simbolu slovenstva – lipi – rajajo in se veselijo tujci. Ljudmila Poljanec je pogosto posegala po zlati, srebrni, beli in zeleni barvi. Barvni epiteti skupaj s svetlimi impresionistično slikajo naravo. Posebno vlogo ima sinja barva, ki poudarja žensko lepoto. Najopaznejša je glagolska metafora z vodnimi glagolskimi izhodišči in glagoli, ki označujejo človekovo obnašanje.Ljudmila Poljanec lived and worked at the turn of the 20th century. She was writing during the period of Slovenian Moderna (1899–1918), the main characteristic of which was stylistic pluralism. In her poetry collection one could predominantly find impressionistic characteristics. The sensitivity to impressions of colour, sound and light, along with the enthusiasm for nature and feeling of being deeply related to it are the most frequently found features. Animal and vegetative motifs are used according to traditional use and symbolic meanings. The main theme of the collection is love, which most of the time remains unrealized/unenjoyed. Emotional sensualism and eroticism are unrealized, as well as love between a man and a woman. The woman is mostly disappointed in the emotion of love and she longs for love, which is not passionate, daring, drastic or turbulent, but gentle and relaxed. Only a woman with a tender and undisturbed heart is capable of such a love. This era is divided by two extremes, the emancipation of women on the one hand and the pressure to preserve traditional values of the society and family on the other. Precisely due to these traditional values it was unacceptable to write about the love between two women, i.e. about lesbian love, which we find in the cycle devoted to baroness Sonja, since such a love was labelled a health problem. The atmospheric theme, connected with the theme of love, especially with the yearning for love, and with disappointment in unenjoyed love, is the second most frequent theme. In the collection also appears the patriotic theme. The author uses it for expressing disappointment in “Slovenianness”, because the foreigners are dancing and revelling by its symbol—the lime tree. Ljudmila Poljanec often used gold, silver, white and green colour. Colour epithets, accompanied by bright ones, are impressionistically depicting the nature. Sky blue plays a special role in underlining woman’s beauty. The most noticeable is verbal metaphor with the sources of verbs of weather and verbs which denotes human behaviour