“JUDGEMENT DAY” BY SAŠA MILIVOJEV: A THEOLOGICAL, PHILOSOPHICAL, ASTRONOMICAL, AND AESTHETIC ANALYSIS OF A POETIC VISION
Analysis by Branka Krivokuća
Through its invocation of the Big
Bang as both symbolic origin and ultimate end, and through its deeply
philosophical
reflection poised at the threshold of the Heavenly Gates, “Judgement Day” by
Saša Milivojev transcends a mere
depiction of the apocalypse - it transforms
into an inquiry into universal existence and fate.
The poem emerges as a multidimensional meditation on the great cycle of life,
death, creation, and annihilation, inviting the reader to perceive the end not
as a definitive conclusion, but as a potential for transcendence into the
unknown. The Big Bang, as a scientific theory describing the universe’s origin
from a singular moment of explosive birth - when space, time, and matter were
formed - becomes, in literature and art, a metaphor for the emergence of order
from chaos, a journey toward growth that inevitably meets its demise.
In Milivojev’s poem, the invocation of the Big Bang signifies not only the
creation of the cosmos, but also the inevitable destruction of everything that
has emerged from it. This cataclysmic event symbolizes both return to the origin
and the end of all things. Thus, within the poem, the Big Bang is transformed
into a symbol of existential cyclicality - from genesis to obliteration. This
aligns with philosophical contemplations on the universal flux of life, death,
and rebirth. Through this motif, the poet not only alludes to scientific
theories but elevates them into a broader philosophical framework, contemplating
the inescapability of death and the simultaneous possibility of a new beginning
- in both its darkest and brightest dimensions.
Saša Milivojev
JUDGEMENT DAY
Stars are clashing
Comets are crashing
The Moon is on fire
The Sky is collapsing
Grinding the ground
Suffocating fumes
Furrows over tombs
Fractured roofs and dreams
Temples and bridges
Slaughtered eagles
Poisons trickling
Roots and weeds torn into parts
The ground is swallowing cities and ramparts
Blackout
The deafening hum
of the wreck and ruin
The landslide is blistering
This is the last of all hours
The fires of thunder are rumbling
Scorching the pastures and the flocks
Crumbling the hills into rocks
Molten steel is spilling
Again, like it did before
The sun will rise no more.
This hour of darkness
Will erase all rhymes and verses,
Fairytales, fables, and poems.
Time is up.
Both the streets of cobblestone and the
shadows,
Swallowed by the cavernous infernos
Yet high upon the summit,
On the Star of Salvation,
From down below, like a boomerang
We can hear an echo
Of the Big Bang!
At the threshold of the end
At the dawn of infinity
Through the rim of Heavenly Gates
Something is flickering tenderly
Translated by
Ljubica Yentl Tinska
One of the most profound philosophical moments in the poem arises in its final
image: “At the threshold of the end / At the dawn of infinity,” where the poet
introduces the motif of the Heavenly Gates, glimpsed through the presence of
something that “is flickering tenderly.”
Situated at the very brink of the apocalypse, this image carries a tremendous
philosophical charge, as it raises questions about the fate of the soul and the
nature of being at the ultimate moment of worldly dissolution. The Heavenly
Gates - whether as metaphor for the afterlife, spiritual transformation, or
entrance into a new and unknown realm - represent a universal human yearning for
transcendence, for something beyond our limited grasp of reality.
The image of the gates at the edge of finality invites reflection: what lies
beyond the end of the world as we know it? Are the Heavenly Gates portals to
salvation, revelation, or perhaps merely a flicker of hope amid darkness? The
phrase “Something is flickering tenderly,” at the poem’s close stands as a
symbol of hope, yet also uncertainty. It embodies a philosophical dilemma
between belief in salvation, transformation, and the stark finality of
apocalyptic annihilation. Milivojev subtly suggests that the world’s end is not
necessarily the end - it is also a threshold offering the possibility of
transcendence, of a new cycle of existence, perhaps one that transcends time and
space as we perceive them.
These images at the “Heavenly Gates” challenge the reader to confront their own
mortal fate, while simultaneously offering the idea that existence does not
terminate with physical death. It may continue in another form - whether through
spiritual regeneration or entry into a mysterious new state of being.
Saša Milivojev’s “Judgement Day” does not merely present apocalyptic visions of
destruction; it employs symbols to open a philosophical discourse on existence,
creation, and the end of the world. One of the poem’s key moments is the
invocation of the Big Bang from atop a summit, on the “Star of Salvation.” This
image evokes not only a cosmological origin story but also a philosophical axis
around which the poem revolves - one that contemplates the fundamental nature of
existence and destiny.
In the context of literary history, “Judgement Day” stands as a radical
exploration of the foundational structures of being and the world’s end,
employing language that echoes the most iconic apocalyptic poetry of previous
ages while adding a distinctly modern voice. The apocalyptic theme has a long
and revered tradition in world literature, but Milivojev’s work distinguishes
itself by not merely following that tradition - it reinterprets it through the
lens of contemporary philosophical and artistic concerns. In doing so, Milivojev
enters into the lineage of great poets who have grappled with the ultimate
questions of life, death, and post-cataclysmic hope.
The poem also employs modern elements in its expression, blending traditional
poetic forms with dramatic and apocalyptic motifs that resonate with today’s
global concerns - ecological collapse, existential crises, and the instability
of modern civilization. In that sense, “Judgement Day” not only constructs a
vision of the universal, but also enables the reader to confront existential
questions in the context of a rapidly transforming world.
Artistically, “Judgement Day” is
marked by intense symbolism and a wealth of stylistic devices. The opening lines
- “Stars are clashing / Comets are crashing / The Moon is on fire” - immediately
transport the reader into a realm of timeless imagery, where nature and the
cosmos themselves are subjected to overwhelming destruction. These visions of
annihilation lead the reader through a chaotic world unraveling at its core,
while simultaneously developing the apocalyptic motif. With phrases like
“Suffocating fumes”, “Fractured roofs and dreams”, “The ground is swallowing
cities and ramparts”, the poet crafts a stark contrast between ordinary life and
the impending cosmic catastrophe, delivering a powerful message about the
inescapability of the end.
The poem’s rhythm is slow, yet demands the reader’s full attention, evoking a
sense of inevitable finality. Milivojev masterfully navigates between concrete
images of destruction and the ethereal, almost intangible presence of the
transcendent - as seen in the line: “Something is flickering tenderly.”
This contrast becomes a symbol of hope, a metaphor for universal reconciliation
with fate - simultaneously an ending and a beginning of something yet unknown.
“Judgement Day” by Saša Milivojev is an artistically and philosophically
significant work, rich in cosmic and apocalyptic symbolism, merging the themes
of divine intervention, catastrophe, and the inevitability of destiny. Due to
its breadth and complexity, it deserves a prominent place among the major poetic
achievements of contemporary literature and warrants recognition within the
broader context of literary and artistic history.
The poem possesses a near-cinematic quality - its images are vividly visual,
kinetic, and charged with dramatic intensity. As though an epic, cinematic
spectacle unfolds before the reader’s eyes, the rhythm of the verses, abrupt
scene shifts, escalation of destruction, and climax in the form of the Big Bang
give the poem the structure of a modern apocalyptic film. Yet its conclusion,
situated “Through the rim of Heavenly Gates”, introduces an unexpected, almost
mystical reversal. This poem is a dramaturgical marvel. It is a testament to the
poet’s ability to lead the reader through utter chaos - through the ash and
silence that follow the explosion - toward a final, barely perceptible glimmer
of hope. In the very moment when all ends, when even “rhymes and verses” vanish,
something “flickering tenderly” appears - as though the camera, having captured
the destruction of the world, slowly zooms in on a final trace of light at the
gates of paradise.
That moment - both poetic and philosophical - opens the space for interpreting
divine justice, revelation, and faith, elevating the poem into a visionary
artistic form that transcends the boundaries of poetry itself.
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萨沙•米利沃耶夫, Saşa Milivoyev, サーシャ・ミリヴォエフ,
Sasha Milivoyev, साशा मिलीवोएव, Саша Миливойев, ساشا میلیوویف,
Saša Milivojev, Σάσα Μιλιβόγιεφ, Sasa Milivojev, Sacha Milivoyév,
Sascia Milivoev, Sasza Miliwojew, Sacha Milivoev, Sasha Milivojev,
ሳሻ ሚሊቮዬቭ, Саша Миливоев, Саша Миливојев, ساشا ميليفويف
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