"George Dandin, ou Le Mari confondu" w polskim oświeceniu. Wersja mieszczańska i chłopska

• Authors: Łukaszewicz Justyna

Title variants

EN

George Dandin, ou le Mari Confondu in the Polish Enlightenment. A Bourgeois and a Peasant Version

Abstracts

EN

Two Polish versions of Molière’s George Dandin, ou le mari confondu (1668), a mix of farce and the comedy of manners, appeared in print in the Enlightenment period: Mąż zawstydzony (Durfour: Warsaw, 1779) and Mąż oszukany (Durfour: Warsaw, 1780). The article juxtaposes both these texts and compares them with the original and with translation and adaptation strategies characteristic for Jan Baudouin and Franciszek Zabłocki. The action of Mąż zawstydzony takes place in Warsaw, and Donder (the new embodiment of Dandin) is described as “a rich burgess”, whereas the action of Mąż oszukany is set in the country, where the main character, Walek Robocki, holds the office of sołtys (head of the village). Numerous adaptive measures are apparent especially in the second version of the comedy. The most substantial change, functioning at the same time as amplification, consists in a modification of the ending: in the last scene, added by the translator, Walek’s wife, Angela, contrary to the original text and to her own character of a cunning, wanton manipulator who neither loves nor respects her husband, which is how she is portrayed in this version of the play throughout all the three acts, now all of a sudden, without any arm twisting, admits her guilt and promises to be good from now on. The element of amplification that is clearly visible in this reworking is reminiscent of adaptations by Zabłocki. What this Polish play has in common with Baudouin’s Świętoszek zmyślony and his version of Tartuffe, as analysed by Emilia Zwoniarska, are the following aspects, which can be found in Zabłocki’s output as well: setting the action in Warsaw; new, localised and semantically loaded surnames; amplifications; allusions to the local realities; a tendency to make the realities more specific then in the original; translational redundancy; introduction of farcical elements where they do not appear in the original text. Dandin as “a bourgeois countryman” (in the words of Robert Jouanny) makes both of his Polish Enlightenment counterparts equally valid, because the differences of social status and the vices of stock characters are the principal cause of his problems in all three versions of the play. Both of the Polish translations retain these two features, and the 1780 version emphasises them even more.

Keywords

EN

Moliere ; theatre history; drama history ; Polish theatre; Polish Enlightenment

• Publisher: Polska Akademia Nauk. Instytut Sztuki PAN
• Journal: Pamiętnik Teatralny
• Year: 2014
• Volume: 63
• Issue: 4(252)
• Pages: 81-96

Contributors

author

Łukaszewicz Justyna

• Uniwersytet Wrocławski

References

• L. Bernacki, Teatr, dramat i muzyka za Stanisława Augusta, Lwów 1925, t. II.
• Dramat obcy w Polsce 1765–1965. Premiery – druki – egzemplarze. Informator. L–Z, praca zespo- łowa pod kier. J. Michalika, red. tomu S. Hałabuda przy współpracy K. Stepana, Kraków 2004
• M. Klimowicz, Oświecenie, Warszawa 1998.
• J. Krzyżanowski, Talia i Melpomena w Nieżwieżu. Twórczość U. F. Radziwiłłowej, [w:] Teatr Urszuli Radziwiłłowej, oprac. i posłowiem opatrzyła K. Wierzbicka, Warszawa 1961.
• I. Kulesza-Woroniecka, Rozwody w rodzinach magnackich w Polsce XVI–XVIII wieku, Poznań – Wrocław 2002.
• J. Łukaszewicz, Carlo Goldoni w polskim Oświeceniu, Wrocław 1997.
• J. Łukaszewicz, Dramaty Franciszka Zabłockiego jako przekłady i adaptacje, Wrocław 2006
• H. Markiewicz, Utarczki i perswazje. 1947–2006, Kraków 2007.
• D. Ratajczakowa, Polskie „Szkoły żon”, [w]: eadem, W krysztale i w płomieniu. Studia i szkice o dramacie i teatrze, Wrocław 2006.
• Z. Raszewski, Życie Jana Baudouin, [w:] idem, Staroświecczyzna i postęp czasu. O teatrze polskim (1765–1865), Warszawa 1963.
• E. Zwoniarska, Molier po polsku. Casus Tartuffe’a, Poznań 1997.