Bitef

U Mleclma Izlazl tlskom Bržlćeva knjlga Pjesmi ujedno stavljene s mnozim druzim lijepim stvarmi. Na plru u kudi Pjorovlće Izvode se Tirana I Venera i Aden. "Pomet družlna" u Vljednlcl predstavlja komedlju Dundo Maroje. 1554. Nakon višegodišnje stanke ponovo se Izvode predstave prema Držlćevlm tekstovlma. Garzarlja Izvodi Džuha Kerpetu, a Dubrovdanl gledaju predstave Pjerina, Mande \Arkulina za koje danas ne znamo gd|e su uprlzorene nltl Imamo preclznljih kronološklh podataka o njlma. 1555. "Njamjasr Izvode Skupa I najavljuju pastlrsku igru Grižula. 1556. Grižula se izvodi na plru Vlaha Sorkodevida. 1558. Vlastl se protlve Izvodenju tragedlje Hekuba. 1559. Konačno |e prlkazuje družlna “Bldzaro”. 1562. Držld napušta Dubrovnik I u Venecljl, gdje mu je žlvlo brat Vlaho, doblja mjesto kapelana mletadkog blskupa. 1566. Dugosanjana I preclzno zamlšljana urota protlv ollgarhl]ske vlastl u rodnom Dubrovnlku doblva svoju tekstovnu flksaclju u plsmlma Coslmu Medlclju. Plsma ostaju bez odgovora. 1567. Držld umlre u Venecljl. Pokopan ]e u zajednldkoj grobnlcl bazlllke Svetlh Ivana I Pavla. Planeta Držić, Slobodan Prosper Novak, Centar za kulturnu djelatnost Zagreb, Zagreb 1984. 0 SKUPU ... Kakav Je odnos Skupa prema tekstu rlmskog komedlografa krltlka Je potanklm usporedbama pokazala I osvljetllla autonomnost nove strukture nastale Izvornlm prožlmanjem Plautova okvlrnog nacrta knjlževnlm Izvornlm elementlma. Taj odnos dakle samo nelzreclvo uvjetuje stllsko Istraživanje teksta 1 gotovo se može zanemarltl, lako spomenutu Irvornost I autonomnost bad stllsko Istražlvanje odnosno njegovl rezultatl mogu 111 potvrdltl 111 opovrgnutl... ... U svlm komedljama pa I u Skupu mogu se razlučltl dvlje dlmenzlje, od kojlh se prva odnosl na adaptlranje I apsorblranje stanovltlh motiva, tlpova, struktura I konvenclja svojStvenih suvremenoj komedlografljl, a druga na Ispunjenje okvlra povljesno konkretnlm namensklm sadržajlma; treda umetnldka dlmenzlja, slnteza Je tlh dvlju, rezultat autohtonog nadahnutog stvaralaitva, ovaj put usredotodenog na temu škrtostl s konkretnlm dubrovadklm Impllkacljama, temu koja determlnlra I smlsleno uvjetuje sve formalno-sadržajne značajke dljaloga I

ABOUT SKUP ...Criticism has shown through slim comparison what the relationship between Skup and the roman comediograph Is, and has brought to light the autonomous nature of a new structure created with authentic permeation of Plauto's general sketch of original literary elements. This relationship, therefore, only unutterably brings about a stylistic exploration of text and can literally be disregarded, even though the mentioned authenticity and Independence can only be affirmed or refuted through a stylistic Investigation, that Is, through Its results... ...In all comedies, hence In Skup as well, two dimensions can be differentiated, the first of which refers to the adaptation and absorbance of certain motives, types, structure and convention of distinctive contemporaneous comedlography, and the second to the fulfillment of the frame of concrete historical content, Intended for a specific purpose; the third artistic dimension Is a synthesis of the first two, the result of autochthonous, Inspired creative work, this time concentrated on the topic of miserliness with specific Dubrovnik-oriented Implications, a topic that determines and essentially preconditions all formally-contented characters of dialogue and structure as a whole. The motive of money, and over It the carrier's dealing with class, moral, character, and situational opposites, Is (with variance of youth and old age, and particularly, Intelligence and Idiocy) another, and perhaps most significant common component of all of Držlđ's works, but not one of them, not even Dundo Maroje , concentrated so bulklly on plot as Skup, which gives It exceptional significance. The poet has obviously found the best possible structure from before the famous model so that, In It, he might expose to disgrace the overall understood and socially concretized vice of gold, tezor and ducats, so decisive and present at every page of his drama that It Is sufficient to skim his dictionary and ensure one's self In the exceptional and symptomatic abundance of merchandise, trade-related, monetary words and terminologies of llke-nature...Their meaning significantly determines the essence of the context In which they appear, radiating throughout the entire plot and demonstrating to what degree human destiny, psychology, comical situations, morals and all the events are rooted In the almighty rule of money...Tezor, therefore, In Skup more than anywhere else, literally or symbolically, through pun or through plot, Is the key term that hooks up Its own content to all the stylistic traits, views and situations, and crafts them with 1t... ...The first and foremost thread of the comedy, Skup' s obsession with tezor, and the second, concerning the marriage of his daughter whom, again because of tezor, he wants to marry to a wealthy "goldsmith”, as well as the entire tezor-perverted personality of the main character are totally, swiftly and blatantly announced In the living and, towards the plot's nucleus, Immediately steered dialogues of the primary view... On a stylistic level, his total Isolation as a consequence of the inability to communicate with the world that always confronts him as a fatal foe, has an unorthodox but entirely unavoidable meaning; overall, the greatest part of his texts are either monologues, or "a parte", or qulproquo In relation to the conversationalist (e.g., In view of Kamila and In view of Zlatlkuma), and this could not but leave specific repercussions In his expression, which retreats from the