TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

CHAPTER FIVE
~rew tired from the 10n~ period of.
waitin~ spent in a semi-dark anteroom,
and it seemed to him that there was
no-one by his side, but that on1Y his
shadow f0110wed as he passed by the
cande1abra.
The combination of the mirror motif and the imaee of the
shadow is used in Roman 0 Londonu.
Rjepnin returns
from Cornwa11 to London, where his wife is p1eased to
see him:
Ona se bi1a taman obradova1a, ~to je
uspe1a, da ~a po~a1je na oba1u okeana, i
da se vratio pocrneo od sunca, evel,
sna!an, - i ako mu je tetiva puk1a, - a1i
je Rjepnin ose6ao ne~to, .to ona nije
zna1a, i, .to joj nije rekaol tamo, na
oba1i okeana, u Kornua1iji, pored
osta10e, prvi put je ose6ao, da stari. U
oe1eda1ima, on je, jo. uvek, bio kao neki
portret. kopija. francuskih, kra1jeva. sa
crnom bradom, i1i kao s1ika ita1ijanskih
asasina. visok. or10vsko~ nosa. crnih
o~iju, kOje su eore1e. kao da u nijma ima
leravica. Ali kad bi okrenuo elavu, Od
oe1eda1a. to 1ice je postajalo bledo
1ice. visokoe ~e1a. umornih usta. 1ice
jedno~ snuldenoe ~oveka. Sve je uza1ud.
Od dana iz1aska iz Rusije. on je samo
svoja senka (6).
She was just cheered that she had mana~ed
to send him to the shore of the ocean.
and that he returned suntanned, fresh.
stron~. a1thou~h his tendon was broken.
but Rjepnin fe1t somethin~ which she did
not know. and which he did not te11 her:
there. on the ocean's shore, in Cornwa11,
amonest other thines. he fe1t for the
first time that he was aeeine. In
mirrors he was sti11 1ike a portrait. a
COpy. of the French kines, with his b1ack
beard, or 1ike a picture of the Ita1ian
assassins. ta11. with a hooked nose. and
b1ack eyes, which smou1deredas if they
were 1ive coa1s. But when he turned his
head from the mirror that face became a
pa1e face. with a hieh forehead, tired
mouth. the face of a dejected man.
Everythin~ is in vain. Since the day he
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