PARADOX IN TRADITION OF KAREL HYNEK MACHA

Abstract

In this article I would like to point out some controversial moments during the acceptance of Macha's work and his personality into contemporary Czech culture. Two main terms are defined here – Macha's reception and Macha's tradition. Tradition is a much more stable system, taking into account not only the work itself (and how it is widely accepted), but also the author's personality, his fate, his cult, historical background etc. Reception is a neverending process of accepting the work, however tradition is its result – a steady image of work and personality, as it remains in national consciousness. There are several contradictions in Macha's tradition and acceptance of his work. An indisputable paradox of the Macha's tradition is the general concept of Macha as a poet of spring, youth, and love. However, the greatest paradox of Macha's tradition is the fact that Macha, who was a subjective romantic, individualist, existentialist and clearly a dangerous person for the emerging national culture, becomes over time a national poet, a representative of the national collective and a guardian of national identity.