Upp um vitsins flúrar. Um poetiska mál Regin Dahls - The poetic language in Regin Dahls poetry:

Abstract

Úrtak

Evnið í hesi grein er tað serliga málsniðið í yrkingum Regin Dahls. Yrkingar Regins eru skaldamálsligt nýbrot, og hetta nýbrotið er fyritreyt hansara fyri at yrkja í tí rákinum, sum tók seg upp eftir aldaskiftið í bundna skaldskapinum. 1 hesum nýbroti skapast poetiskt mál, sum er persónligt og eyðkennir einstaklingin heldur enn eitt rák. Fyrimyndir Regins eru tey skaldini, sum fyrst gjørdu seg leys av tjóðskaparliga songskaldskapinum og sóu yrkingar sum sjálvstøðug listaverk, J.H.O. Djurhuus, H.A. Djurhuus og Christian Matras. Teir hava, hvør á sín hátt, havt ávirkan á Regin Dahl.

Skaldamál Regins skapast í støðuga samskifti hansara við ta grund, sum er løgd niður í hann, hann er í teirri serstøðu sum barn at fáa dygga uppaling í føroyskum máli og mentunararvi. Samstundis fær skaldamálið innblástur frá og treytast av bókmentaliga modemaða

umhvørvinum, sum skaldið livir og ferðast í dag og dagliga.

Í greinini verður orðiðmoderna nýtt í staðin fyri orðið modernistiskt, Orðið modernistiskt verður skilmarkað ymiskliga nú á døgum, og spurnartekin verður í heilum sett við tann stýrandi og ónemandi týdningin, sum tað í hálva øld hevur havt. Orðið modema hevur víðan týdning, men verður her nýtt um tað, sum í samljóði við skaldsligar rembingar í síni tíð gongur nýggjar leiðir.

Abstract

The subject of this article is the unique style of language in Regin Dahl's poems. Regin's poems find new literary ground, which again is essential in his effort to compose poetry within the literary trend , that arose after the turn of the century. In this effort he creates a personal, poetic languagc, which accentuates him as an individual rather than the trend that he is a part of. Regin's models are the poets, J.H.O.Djurhuus, H.A.Djurhuus and Christian Matras, who were the first to distance themselves from the nationalistic song writing, and who considered poetry as individual pieces of art. These poets, each in their own way, have all influenced Regin Dahl.

The language in Regin's poetry is created in his constant interaction with the very essence of his being, since he is in the unique position to have had a solid education, as a child, in both the Faroese language as well as cultural heritage. At the same time, the language in his poetry is also inspired by and dependent on the modern literary environment that surrounds him in his everyday life.

In the article the word modem is used in stead of the word modernistic. Today the latter is subject to various interpretations, and the governing and infeasable position it has held in poetry for half a century is frequently questioned. The word modern has a wide range of meanings, but is here identified with what finds new ground in close interaction with the literary trends of its own time.