APA 6th Edition Pavličić, P. (2008). Kad počinju Cesarićeve pjesme?. Dani Hvarskoga kazališta, 34 (1), 59-76. Preuzeto s https://hrcak.srce.hr/72868
MLA 8th Edition Pavličić, Pavao. "Kad počinju Cesarićeve pjesme?." Dani Hvarskoga kazališta, vol. 34, br. 1, 2008, str. 59-76. https://hrcak.srce.hr/72868. Citirano 02.04.2020.
Chicago 17th Edition Pavličić, Pavao. "Kad počinju Cesarićeve pjesme?." Dani Hvarskoga kazališta 34, br. 1 (2008): 59-76. https://hrcak.srce.hr/72868
Harvard Pavličić, P. (2008). 'Kad počinju Cesarićeve pjesme?', Dani Hvarskoga kazališta, 34(1), str. 59-76. Preuzeto s: https://hrcak.srce.hr/72868 (Datum pristupa: 02.04.2020.)
Vancouver Pavličić P. Kad počinju Cesarićeve pjesme?. Dani Hvarskoga kazališta [Internet]. 2008 [pristupljeno 02.04.2020.];34(1):59-76. Dostupno na: https://hrcak.srce.hr/72868
IEEE P. Pavličić, "Kad počinju Cesarićeve pjesme?", Dani Hvarskoga kazališta, vol.34, br. 1, str. 59-76, 2008. [Online]. Dostupno na: https://hrcak.srce.hr/72868. [Citirano: 02.04.2020.]
Sažetak This paper analyses the poems of Dobriša Cesarić, poet whose not very large oeuvre permits the easy discernment of specific features. One of these is the way in which his poems begin, i.e., the temporal datum (time of day, year or duration of some event). Mention of the moment of which the poem speaks guarantees the realistic nature of the experience and facilitates the identification between reader and poem. Cesarić’s poems are dedicated to little things and by the highlighting of the temporal dimension the character of the poem is underlined: it is an experience of an ordinary man in ordinary circumstances and so identification is pos- sible. Poems without a temporal datum tend to speak of something that is eternal or something that lasts very long.
Time does not interest Cesarić as a destructive force; rather he is interested in the moments in its duration in which something exceptional happens. Mentioning temporal data is not the consequence of a manner of the poet; rather is the direct fruit of his experience of the world. The paper concludes that poems beginning with something ephemeral conclude with something lasting or definitive. In the little, the big is concealed, in the moment of eternity.