The given article is an analysis of Władysław Wężyk’s Travels to the ancient world taking into consideration the most important problems and components of the 19th century Romantic worldview. Particular attention will be paid to the great Romantic themes such as folklore, art, music, spontaneous literary works and concepts of new humanity. Wężyk’s memoir reveals his openness towards the Other and the understanding of foreign cultures which is by far the most important feature of a Romantic intellectual.
Adam Mickiewicz’s Pan Tadeusz (in English: Sir Thaddeus, or The Last Lithuanian Foray ), the national epic poem, was first published in June 1834. It was perceived as a patriotic work, full of very ideal heroes. However, one of the most problem of this poem is love! Pan Tadeusz is the poem about love. There are many kinds of love: erotic love and maritial love, also familiar love (between parents and their children), love for country and others. My article applies not just to love affairs, but the very essence of love. What is love in Mickiewicz’s poem – is it “love that moves the sun and other stars” (Dante)?
Adam Mickiewicz’s Pan Tadeusz (in English: Sir Thaddeus, or the Last Lithuanian Foray), the national epic poem, was first published in June 1834. It was perceived as a idyllic work, full of happiness and very ideal heroes. However, one of the most problem of this poem is treason! It is very important to put a question: what is treason in the strict sense of the word? There are a lot of kinds of treason or only one? Is it possible to betray own country on account of favouriting strange fashion, customs or painting? In Pan Tadeusz Mickiewicz intended to stand up for the Polish tradition. He had a high opinion of loyalty, steadiness and the selfless sense of duty.
In this article Maurycy Mochnacki’s martyrological and messianic declarations in the Preface to the Uprising of the Polish Nation in 1830–1831 are examined in the context of the martyrological discourse in the literature of the Great Emigration. Such an affirmation may appear puzzling given Mochnacki’s rejection of martyrological interpretations of Poland’s history or messianic readings of his political philosophy, let alone his reputation of being radically opposed to Adam Mickiewicz’s idea of the sacrifi cial victimhood of the Polish nation. In this study the ideological and rhetorical aspects of their statements are compared and analysed. There can be little doubt that in the Preface Mochnacki’s phrasing is steeped in patriotic pathos which seems to be at odds with the tone of his other writings. This article claims that it was a tactical move on his part: he chose the familiar martyrological loci merely as a means to enlist the readers’ support for his own pragmatic programme of restoring Poland’s independence. A general conclusion to be drawn from this apparent inconsistency is that already at that stage (The Uprising was published in Paris in 1834) the logosphere of the Great Emigration had become so dominated by the martyrological discourse that Mochnacki could not afford to ignore it.
After moving to Italy in 1856, Teofil Lenartowicz, inspired by the great Italian art and supported by the best Florentine artists of the time Giovanni Dupré and Enrico Pazzi, began studying sculpture. Lenartowicz’s sculptures were always connected with literature: his work shows howone influenced the other. It is no accident that his style as a sculptor has been called ‘poetic’ by the critics. The Polish immigrant was fascinated by the Italian Renaissance, and especially by the art of Lorenzo Ghiberti. At the same time, he never forgot about Polish folklore, which played a significant role in his artistic vision. One of the most impressive examples of this intersection of influences is the bas-relief The Holy Workers, complemented by a poem bearing the same name.
The article attempts to outline Adam Mickiewicz’s concept of subjectivity. He introduces it in his visionary poetic drama Dziady (Forefathers’ Eve) where a radically ambivalent situation is presented through the duality of the main character Gustaw/Konrad. The article describes this duality in terms of Paul Ricoeur’s distinction between cogito exalté and cogito brisé. In Dziady Mickiewicz dramatizes the transition from exaltation to dejection, the condition of cogito brisé (living with a wound). His romantic subject cannot throw away his past, but because he is acutely aware of his failings and his inadequacy he is able to free himself from delusions of grandeur and self-centered pride. The condition of uncertainty, inadequacy and chronic insatiability is like a gaping wound or a lack which may lead the ‘I’ to open up and seek the Other. It is a vision of man who knows he is deeply flawed but capable of pursuing a noble desire; vulnerable and fallible, beset by ‘endless error’ and yet able to act and get his act together; self-centered and yet, because of the relational nature of the human identity, capable of redirecting his emancipatory energy to Others. It can be summed up the concept of homo capax (homme capable) which, as this article argues, provides the key to Mickiewicz’s anthropology.
This article is a critical reappraisal of Juliusz Słowacki’s translation of Calderón’s El príncipe constant (1843), which acquired a place of its own in Słowacki’s oeuvre and continued to attract a lot of interest throughout the 20th century. Its lasting appeal is due to its extraordinary unity of tone, dramatic construction and stylized language, which in effect, as some critics have said, out-Baroques Calderón’s Baroque original. This article analyzes this contention in detail and tries to answer the question what were the sources and reasons of Słowacki’s fascination with the 17-th century Spanish poet and playwright. The second part of the article deals with two of the 20th-century stage productions of the drama and the adapters’ handling of Słowacki’s text. The summary includes a brief survey of the treatment Calderón’s heirs accorded to his key trope perigrinatio vitae (‘life is pilgrimage’).