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1

EASTERN HERBS IN POLISH ROMANTIC LITERATURE

100%
Wenerska W.
Slavia Orientalis
|
2006
|
vol. 55
|
issue 2
187-198
EN
The article presents three plants. All herbs come from the East-Slavic folk culture. The name of first is 'sen-ziele' (herb of sleep). It is found in Michal Jezierski's book 'Ukraina', where 'sen-ziele' has soporific effects. Motif of 'herba somni' has a special position, that of a leitmotif, in creative activity of another Polish author, J. B. Zaleski. In his works the 'sen-ziele' has not only soporific effects. 'Herba somni' as a symbol of spring, love and youth can be fond in J. B. Zaleski's poem 'Sen - Drzewo - Wieszcze'. In another Zaleski's poem 'herba somni' is presented as a medicinal plant. Similarly, another Polish writer J. I. Kraszewski uses 'sen-ziele' in his novel 'Lublana', where the herb gives prophetic effects. Another plant, which comes from East-Slavic folk culture is 'rozryw-trawa'. In Polish romantic literature 'rozryw-trawa' appears in A. J. Glinski's work 'Bajarz polski', especially in his texts: 'O rycerzu Niezginku, mieczu samosieczu i o geslach samograjach', and 'O Janie królewiczu, zar-ptaku i o wilku wiatrolocie'. The last of plants presented is 'trut-ziele' (the toxic herb), from East-Slavic folk culture, too. In Polish romantic literature this herb appears as a walking motif, for example: in the poem 'W spólce ze slowikiem' by J. B. Zaleski, in Ukrainian novel 'Sonia' by T. A. Olizarowski and in the historical novel 'Kunigas' by J. I. Kraszewski. In all these books we can find 'trut-ziele' as a toxic plant and also a symbol of love (W spólce ze slowikiem).
2

THE LITERARY HERBARIUM OF JÓZEF IGNACY KRASZEWSKI'S 'AN OLD TALE'

100%
Wenerska W.
Ruch Literacki
|
2006
|
vol. 47
|
issue 4-5
431-443
EN
In his historical novel 'An Old Tale' Józef Ignacy Kraszewski compiles an intriguing literary herbarium. Next to a number of quite unremarkable plants his collection includes herbs that can be used to summon magic powers. Among the latter we can find the lovege in all its emblematic glory. His miraculous 'hortus siccus' displays a herb which is believed to bring back the dead to life. Kraszewski selects his botanical specimens with the familiarity of their peculiar functions, ie. ceremonial (eg. motherwort, tancy, sundew, mullein), medicinal (eg. plantain), prophetic, or downright utilitarian (thyme, savory). It seems that the herbs from the literary 'hortulus' of 'An Old Tale' arrange themselves in a well-ordered cluster of functionally consistent motifs.
3

THE MOTIF OF THE 'EVIL EYE' IN SELECTED POEMS BY POLISH ROMANTIC WRITERS

100%
Wenerska W.
Ruch Literacki
|
2007
|
vol. 48
|
issue 3(282)
271-280
EN
This article investigates the motif of the 'evil eye' in the works of the Polish Romantics. The first to take up the idea of a menacing gaze was Konstanty Gaszynski in his ballad 'Zle oko' (The Evil Eye). He was followed by Kazimierz Wladyslaw Wójcicki, who adapted the ancient motif for his stylized folktale 'Oczy uroczne' (The Spell-binding Eye). Another writer to have been inspired by the idea of the baleful gaze was Karol Balinski, author of the fairy tale 'Piekne oczy' (A Pair of Beautiful Eyes). The minor Romantic Franciszek Morawski drew a portrait of a girl with a pair of strange and spell-binding eyes in his fairy tale 'Ciche dziecie' (A Quiet Child). The motif of a strangely menacing gaze usually evokes some indistinct forebodings of misfortune, illness, death, or some other disastrous event. Only in the case of Balinski's 'Piekne oczy' does the disturbing gaze happen to have no bad consequences for any of the characters.
4

FLOWER MOTIVES IN MICHAL JEZIERSKI'S POEM UKRAINE

100%
Wenerska W.
Slavia Orientalis
|
2005
|
vol. 54
|
issue 2
229-240
EN
The floral motives in Jezierski' poem 'Ukraine', connected with couleur locale of the Ukrainian land, were presented. The poet's literary imagination was animated by trees, flowers, and herbs that became a subject of aesthetic admire, description and a carrier of symbolic meanings. The plan of the work presents tree images which are both a part of the Ukrainian rural landscape (pear tree) and of forest space. Moreover, flowers are set in the forest spatium becoming the sign of peace and idyllic atmosphere. Michal Jezierski creates a peculiar Ukrainian herbarium consisting of different plants set in steppe landscape. Into this steppe wonderland the poet puts inter alia rue, mullein, and camomiles. Herba somni is the main subject of Jezierski's work, because it has an abitity to make sad, petrified people fall asleep and be peaceful, so it has also the therapeutic function. In the poem we can also find the flower of fern: a motive well known all around Europe. Herba felicitatis has magic properties, can indulge human material needs, and is also a symbol of happiness. What is more, Jezierski noticed how much beauty there is, hidden in the Ukrainian land with its lush flora which is presented as an observer of everything happening in nature.
5

THE KUPALA DAY IN 'STARA BASN' BY JÓZEF IGNACY KRASZEWSKI

100%
Wenerska W.
Slavia Orientalis
|
2007
|
vol. 56
|
issue 2
239-248
EN
The article describes Kupala Day festivities in 'Stara basn' (An Ancient Tale) by J. I. Kraszewski. By reconstructing the ceremony, Kraszewski shows the connections with the traditional folk culture of Eastern Slavs. The participants of the ritual pay tribute to Kupala, the god of the summer sun, crops, affluence, and fertility. The author of 'Stara basn' shows the basic elements of the festival: the ritual bathing, the bonfire jumping, and dancing around the fires. Festival songs seem equally important and their main theme is the marriage of the Sun and the Moon. Singing during the festival time focused on life and abundance. The Kupala ceremony is connected with joy and laughter. Kraszewski also draws the reader's attention to the wonderful, magic meaning of the summer solstice. During the Kupala ceremony people are afraid of Jarucha the witch who could spellbind them. The merry-making in the forest puts an end to the summer solstice ceremony. The Kupala ceremony in 'Stara basn' takes place in an extraordinary setting, and its main feature is the vitality of participants. By showing the summer solstice festival, Kraszewski emphasizes the elements of the sun cult, the magic of soil, and the magic of purifying, erotic aspects of the ritual.
6

BASED ON BELARUSSIAN FOLK LEGENDS. THE BALLADS BY JAN BARSZCZEWSKI

100%
Wenerska W.
Slavia Orientalis
|
2008
|
vol. 57
|
issue 3
385-394
EN
Jan Barszczewski (1790-1851), fascinated by the Belarussian folk culture, referred in his poetry to folk tales from Belarus. He presented them in there ballads: 'Dwie brzozy', 'Jezioro zarosle', 'Zdrój dziewicy. The ballad 'Dwie brzozy' he wrote on the basis of the tale, which he heard in the province of Polotsk.It is a story of Jas' love for Maryla. Alas, the girl's soul was spelled in a birch. The man, longing for his beloved, also transformed himself into a tree. The ballad 'Jezioro zarosle' is connected with a water body located west of Newel. It shows a motive of a clever, wise devil, who 'steals' fish from the lake to spite the local people. Since then people avoid this place and the lake gets overgrown with moss and grass. In another work entiled 'Zdrój dziewicy', a traveling bard of Belarus presents a tale from somewhere on the Dzwina river. This ballad shows Belarussian wedding customs and a motive of bad sorcerer, who transforms the participants of the wedding into animals. The bride, Alina, is changed into a cuckoo, and then her soul is spelled in a stream. It ist noteworthy that Barszczewski played an important role in popularization of Belarusian tales and was able to present the 'voice of his land and people' in an interesting way.
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