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1

Ancient Forest Idols on Polish Soil. Based on the Poem Ja jestem satyr [I am a Satyr] by Wacław Rolicz-Lieder and the Painting Hołd sztuce i muzie [Homage to Art and Muse] by Jacek Malczewski

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Igliński G.
Prace Literaturoznawcze
|
2019
|
issue 7
105-122
EN
The works analysed in this paper – Wacław Rolicz-Lieder’s poem Ja jestem satyr [I am a Satyr](from the volume Nowe wiersze [New poems, 1903] and Jacek Malczewski’s painting Hołdsztuce i muzie [Homage to Art and Muse, 1910] – relate to the theme of art. They cover a subjectof key importance to the Young Poland movement, simultaneously using the motif of a forest idol(faun, satyr) fashionable at the turn of the 20th century. The difference between these two works isnot limited to the nature of artistic expression (poetic vision – the painter’s vision). In the poem byRolicz, it is narrowed to the individual (the individual’s experiences) – basically, it is the confessionof an individual finding satisfaction in the image of what is native. In the painting by Malczewski,the perspective seems wider and more universal. The former reveals what could be the source ofinspiration for an artist, while the latter presents what art can aspire to. Regardless of this directionof influence, both works contain the suggestion that art is conditioned by culture and that it has theright to bear the mark of “homeliness”.
2

Przewartościowanie tradycji ezopowej w bajkach Juliana Ejsmonda Konik polny i mrówka oraz Pszczoła i gołąb

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Igliński G.
Prace Literaturoznawcze
|
2013
|
issue 1
47-59
EN
The article discusses two youthful fables of Julian Ejsmond. He analyses them in the context of ancient Greek Aesop’s fables and fables of Jean de La Fontaine. He also exploits fables of Franciszek Dzierżykraj-Morawski and Jan Lemański. He shows transformations of the ancient prototype above all. Fables of Ejsmond are an example of the return to sources, but being parodic redefining the tradition. These fables try to put widespread motifs straight. So occurring relations between texts of different authors, taking the same Aesopian subject up are an object of the work.
3

W blasku słonecznym i w milczeniu. Fauniczność przyrody w sonecie Kazimierza Przerwy-Tetmajera W ArkadiiW blasku słonecznym i w milczeniu. Fauniczność przyrody w sonecie Kazimierza Przerwy-Tetmajera W Arkadii

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Igliński G.
Prace Literaturoznawcze
|
2017
|
issue 5
81-93
EN
This work attempts to present one of the most popular characters in the Young Poland imagery – the faun, which the artists treated as equivalent to the god Pan and the satyr. The subject of this work is the analysis and interpretation of the sonnet W Arkadii [In Arcadia] by Kazimierz Przerwa- Tetmajer. The results indicate that the poem reveals the spaces of nature and the philosophical thinking about the natural world, which are characteristic of the period. It exposes sensuality in the perception of the world. There are no secrets there. The most important secret has been revealed. That secret is life that is love. This is the essence of happiness or the Arcadian nature. The exposure of the sun, which somehow “patronises” things that happen on the earth, attracts attention. The entire Arcadian landscape is penetrated by the power of life. Each individual element of the landscape indicates fertility. Moreover, it may simultaneously be the emblem of femininity and masculinity. Gender and sexuality define not only the last stanza of the poem with the tangled figures of the faun and the girl, but also the entire sonnet. As in the works of Arnold Böcklin, so appreciated by Tetmajer, nature occupies the foreground. On the other hand, positioning a barely visible faun in the depth of it may suggest that it is characterised by faun-related aspects (gender and sexuality). The poem is evidence that the bright solar fascination of the Young Poland authors also occurred during the 1890s, announcing the slow replacement of catastrophism with vitalism.
4

Piękno i śmierć. Herodiada Stéphane’a Mallarmégo a Baśń parku jesiennego Leopolda Staffa

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Igliński G.
Prace Literaturoznawcze
|
2015
|
issue 3
9-30
EN
The paper compares two poems with diagonal structure: Herodias by Stéphane Mallarmé and Baśń parku jesiennego (Fairy tale of the autumn park) by Leopold Staff. It proves the level of dependence of the Polish work on the French original. The comparison shows that the number of motives identical for both texts is too high to see it as accidental; it rather shows conscious inspiration. However, Staff uses those motives differently than Mallarmé, subjecting them to his poetics and his philosophy of balance. His work is not a paraphrase or pastiche; it represents a different elaboration of the same subject – the beauty. They create a new quality.
5

Piekło XIX wieku. Diagnoza porządku świata w dramacie Imre Madácha Tragedia człowieka

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Igliński G.
Prace Literaturoznawcze
|
2014
|
issue 2
29-47
EN
The work represents an attempt at interpretation of the drama by Imre Madách The Tragedy of Man from the philosophy of history perspective. After discussing the initial three images of the work that was necessary considering the laws governing the world formulated there, it analyses only the eleventh image taking place in the 19th c. London. That episode is of key importance as it present the times contemporary to the author and it allows to look later from that perspective at the past and the future of the fates of humanity presented by Madách revealing the conceptions concerning them characteristic for the 19th c.
6

Fenomen romantycznego cyklu lirycznego. O wyznacznikach cykliczności na przykładzie Sonetów krymskich, Vade-mecum i Kwiatów zła

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Igliński G.
Prace Językoznawcze
|
2021
|
vol. XXIII/2
331–344
PL
Przedmiotem niniejszej wypowiedzi są wyznaczniki cykliczności, które znamionują cykl liryczny w ogóle i zarazem charakteryzują cykle romantyczne, które poza stygmatem drogi łączy także „sugestia autobiografizmu”. Za przykład posłużyły dzieła Adama Mickiewicza (Sonety krymskie), Cypriana Norwida (Vade-mecum) i Charles’a Baudelaire’a (Les Fleurs du mal, pol. Kwiaty zła). Wszystkie je, tak różne w sferze myślowej i obrazowej, wiąże topos wędrówki zawierający interpretację losu ludzkiego. Zwrócono uwagę na następujące elementy mogące sygnalizować cykliczność i mieć wpływ na spójność całości cyklu: dedykacja, motto, numeracja wierszy (czasem pomijająca pierwszy utwór, traktowany jako prolog), tytuł dzieła oraz tytuł jakiejś serii tekstów w tym dziele (mających lub niemających własnych osobnych tytułów), gatunek (np. sonet), rama kompozycyjna, minicykle (podcykle), „wiązki cykliczne” (np. wiersze-filary rozdzielające minicykle), grupa centralna, nadrzędny podmiot i nadrzędny odbiorca cyklu (nierównoznaczni z podmiotem i odbiorcą właściwym dla pojedynczego wiersza). Podjęto ponadto próbę określenia rodzaju układu cyklicznego, jaki dzieła Mickiewicza, Norwida i Baudelaire’a prezentują – w zależności od stopnia zamknięcia (spójności) struktury cyklu i autonomiczności ogniw go tworzących.
EN
This article focuses on the determinants of cyclicality characterising the lyrical cycle in general and, in particular, romantic cycles, which are all marked by the motif of the road but also by the “suggestion of autobiographic nature”. Examples used to illustrate the analysis comprise works by Adam Mickiewicz (The Crimean Sonnets), Cyprian Norwid (Vade-mecum) and Charles Baudelaire (Les Fleurs du mal). Although so different in their thought and imagery layers, they are linked by the topos of wandering, which represents an interpretation of human condition. The analysis places emphasis on such elements that could indicate cyclicality and influence cohesion of the entire cycle as: dedication, motto, numbering of the poems (sometimes disregarding the first poem treated as the prologue), the work’s title and the title of a series of texts in that work (which may or may not have their own, separate titles), genre (e.g. sonnet), composition framework, mini-cycles (sub-cycles), “cyclic bundles” (e.g. pillar-poems separating mini-cycles), central group, supreme subject and supreme recipient of the cycle (which are not equivalent to the specific subject and recipient of an individual poem). Moreover, the presentation attempts to define the type of cyclic setup presented by the selected works of Mickiewicz, Norwid and Baudelaire depending on the level of cohesion of the cycle structure and autonomous nature of the links that form it.
7

Fauniczna gra przeciwieństw. Inspiracje böcklinowskie w wierszu Wieczór wiosenny Zofii Gordziałkowskiej

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Igliński G.
Prace Literaturoznawcze
|
2018
|
issue 6
137-148
EN
This paper presents an analysis and interpretation of Zofia Gordziałkowska’s poem The SpringEvening [Wieczór wiosenny] from her volume Böcklin in poetry [Böcklin w poezji] (1911). It aimsto describe one of Gordziałkowska’s methods of utilising the works of arts which were the inspirationfor her works. As almost all the texts in the volume were created because of the paintingsby the Swiss artist Arnold Böcklin, popular at the turn of the 19th and 20th centuries, his works providea fundamental context for those considerations.The conducted analyses indicate that, in some of her works, the poetess clearly does not faithfullyreproduce all the details of the described paintings but offers her own development of the themepresented by Böcklin.
8

Nuty smutku wśród uroków natury. Pan w trzcinie Arnolda Böcklina i Zofii Gordziałkowskiej

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Igliński G.
Prace Literaturoznawcze
|
2016
|
issue 4
49-60
EN
Two works: the painting by Swiss painter Arnold Böcklin and the poem by the Young Poland poet Zofia Gordziałkowska inspired by that painting are the subject of considerations. Both works have the same title - Pan Amongst the Reeds. Comparative analysis allowed determining to what extent the poetic version of the subject is true to the painted original - do we deal with a description of the painting, a lyric comment to it and an attempt at reading it ormaybe it was just the reason for developing a king of reflection going far beyond the work by Böcklin. The poem, treating the subject presented in the painting (the mythological Pan) asa synonym of an artist complaining and hankering after something unspecified, leads to theconclusion that arts hinder enjoying life. On the other hand, treating the subject as a representative of the nature or personification of life reduces that life to using it, to the sensual intoxication. The originality of the poet is represented by deviation from convention in understanding the landscape functioning in symbolism. She processes the subject undertakenby Böcklin in the way aiming at highlighting not only the value of the art but, first, the value of life.
9
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„Twardego snu pieczęcie”. Świat dziwów w „Zaklętym mieście” Edwarda Leszczyńskiego

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Igliński G., Uniwersytet Warmińsko-Mazurski w Olsztynie W. H., grzegorz.iglinski@uwm.edu.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 33
|
issue 3
EN
The article offers an analysis and interpretation of the poem Zaklęte miasto [Enchanted city] from the volume Ballady i pieśni [Ballads and songs] by the Young Poland poet Edward Leszczyński. The poem is first analysed based on the oneiric convention. For this purpose the author refers to the philosophy of Arthur Schopenhauer and explains the symbolism of the wheel, which indicates the sense of entrapment in the world, a situation with no way out. The dreaming-wandering from Leszczyński’s poem, the gaining and losing of faith, is then examined in the context of August Strindberg’s A Dream Play. The two works, ostensibly so different, address with a similar kind of poetic “dreaming.” In both cases, the life in question is inauthentic, asleep, affected by a curse, kept under a spell. The last stanza of the poem indicates the Dionysian tradition, and therefore makes it necessary to refer to the philosophy of Friedrich Nietzsche and his idea of eternal return. The examination lead to the conclusion that Leszczyński’s work refers to the dual meaning of circularity, or rather two attitudes towards life. In the first case Schopenhauerian determinism is revealed, according to which life is a monotonous, enchaining, ominous dream. In the second case we are dealing with the worship life of Nietzschean provenance – one may, therefore, conclude that a curse can be a blessing and being asleep can be being awake, if we accept the eternal return.
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