The aim of the paper is to determine basic semantically -aesthetic coordinates of the Emil Boleslav Lukac's debut 'Spoved' (Confession,1922) and to search 'topoi' of home in the context of his collections of poems 'Dunaj a Seina' (Danube and Seine,1925) and 'Spoved' (Confession, 1929). In the same year as the debut by E. B. Lukac 'Spoved' (Confession) a debut of Jan Smrek 'Odsudeny k vecite zizni' (Sentenced to Eternal Thirst) was published. Both collections of poems are influenced in significant measure by a poetics of symbolism and decadence. Similarity of them is not determined only by aesthetic, thematic, stylistic levels but it overlaps the level of composition. There are common semantic gestures in the cycles of both of the publications. They come through the similar transformation and vary identical authorial stylisations. In the second part of the paper the author deals with 'topoi' of home in the context of the collections of poems 'Dunaj a Seina' (Danube and Seine) and 'Spoved' (Confession). There is an evident shift from intimate borders to cultural, national and political borders. Both categories are connected through the category of regional and the co-part in complexness and compactness of Lukac's poetic world. In the centre of it there is an idea of home as a fundamental ethic value of his poetry. The last level of his poetic model of the world is always represented by theological, respectively cosmological level. It is true also for the collection of poems representing secular, respectively civil pole of Lukac's work. The paper contributed in primary identification of common starting points of two later periods characterized by two differently polarized poetic concepts of Smrek and Lukac, as well as in specification of several aesthetically semantic residua connected with 'topoi' of home in the context of chosen Lukac's collections of poems.
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