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1

ROMANTIC ELEGIAC AWARENESS. KAZIMIERZ BRODZINSKI'S TREATISE 'ON ELEGY' (Romantyczna swiadomosc elegijna - rozprawa 'O elegii' Kazimierza Brodzinskiego)

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Sniedziewski P.
Pamiętnik Literacki
|
2011
|
vol. 102
|
issue 1
5-25
EN
The paper aims to present Kazimierz Brodzinski's views on the elegy. The author of 'On Classicism and Romanticism' (publ. 1818) and 'On Idyll from a Moral Point of View' (publ. 1823) is commonly regarded as a main theoretician and defender of idyll writing. Nonetheless, a careful reading of the two treatises, combined with an analysis of his thesis 'On Elegy' (publ. 1822) reveals 'other' Brodzinski who not only doubts into the idyll's life span at the beginning of 19th c. and also becomes an eulogist of elegiac sensitivity. In reference to the elegiac subject's unique emotional state (the experience of instability of the world and one's own transitoriness), the latter is defined by Brodzinski's attitude to time (connected with metaphors of vanity and melancholic consciousness of loss) and to space (which is a sensual equivalent of the subject's emotions and attests his emptiness and loneliness in the world). Brodzinski's observations were contrasted with Friedrich Schiller's treatise 'On Naive and Sentimental Poetry' (publ. 1800), which was Polish writer's important source of inspiration, and with the tradition of 'sweet melancholy' present especially in French art and literature. It might be concluded that the idyll in Brodzinski's considerations is a metaphor of vanished order and harmony whilst the elegy gives the fullest description of emotional and historical situation of the then man.
2

POSITIVISTIC SPLEENS - ELIZA ORZESZKOWA'S 'MELANCHOLY ONES' (Pozytywistyczne spleeny - 'Melancholicy' Elizy Orzeszkowej)

100%
Sniedziewski P.
Pamiętnik Literacki
|
2009
|
vol. 100
|
issue 4
53-71
EN
The sketch is an interpretation of a somewhat forgotten Eliza Orzeszkowa's collection 'Melancholy Ones' published in 1896. The texts contained in this collection clearly refer to the issues (the four humors theory, image of Saturn, acedia) and metaphors (a soap-bubble) traditionally linked with melancholy. They are the evidence of the crisis of identity, and of an attempt to undermine the optimistic assumptions of the positivistic world view. The collapse results, among others, from the doubts about scientism, and from the questioning of sensualism and empiricism as methods of understanding the world. The collection is also an unflinching proposal to reject the rules of positivistic prose, since Orzeszkowa resigns from the auctorial narration and introduces to her stories elements of confession and monologue. It seems, however, that the crisis shown by Orzeszkowa is overcome by the resort to hope which, paradoxically, is an effect of the same tensions and uncertainty as melancholia.
3

SEEING NOTHING IN ONESELF. MELANCHOLY IN AMIEL'S 'INTIMATE DIARY' (Zobaczyc w sobie nic. Melancholia w 'Dzienniku intymnym' Amiela)

100%
Sniedziewski P.
Teksty Drugie (Second Texts)
|
2008
|
issue 6(114)
155-169
EN
This essay attempts at interpreting Henri-Frédéric Amiel's 'Intimate Diary' through the category of melancholy. The key notion for understanding the Swiss philosopher reflection is emptiness: the world in which the subject lives is empty (everything is but his hypostasis); the subject itself is empty; at last, empty is the work itself (the Diary - as it is deprived of an ending or conclusion). In consequence of this logic comes up a modern theory of loss as formulated by Amiel: in this case, certain - still romanticist - connotations, appear to be less essential, whilst those elements which allow for perceiving the Amielian loss in a philosophical and psychological context (a few dozen years before Freud's findings) become key.
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