The sketch presents a parallel nature of the conception of literary tradition by Jarosław Marek Rymkiewicz, and the conception of the influence by Harold Bloom. Both books: Rymkiewicz’s Czym jest klasycyzm? Manifesty poetyckie and Bloom’s The Anxiety of Influence. A Theory of Poetry appeared at the same time, namely at the end of the 1960s. The author of the sketch points to the similarities of both conceptions, showing the dependence of contemporary writers on their predecessors that are considered as “living” in the overtime duration of Tradition. She also points to the differences deriving from different inspirations by psychoanalytic conceptions, that is, Jung’s theory in the case of Rymkiewicz and Freud’s theory in the case of Bloom.
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L’esquisse montre le caractère parallèle de la conception de tradition littéraire de Jarosław Marek Rymkiewicz et la théorie de l’influence de Harold Bloom. Les deux livres Czym jest klasycyzm? Manifesty poetyckie de Rymkiewicz et L’angoisse de l’influence de Harold Bloom ont été écrits dans le même temps de la fin des années 60 du XXe siècle. L’auteur de l’esquisse démontre les similitudes de deux conceptions, qui prouvent la dépendance des écrivains contemporains de leurs prédécesseurs, qui sont considérés comme « vivants » dans la continuité hors du temps de la Tradition. Elle désigne également des différences qui résultent des inspirations distinctes des conceptions psychanalytiques : par la théorie de Jung dans le cas de Rymkiewicz et par la théorie de Freud dans le cas de Bloom.
The article analyzes a medium¬ like creation of a poet in Czesław Miłosz’s writings. In his works a poet is presented as a chosen man, stigmatized with an artistic destiny, dependent on ‘forces’ and ‘voices’. Splitting poet’s consciousness enables a medium-like relation, called ‘instrumental’ by Miłosz: the artist is being passively subjected to voices like an instrument. The lyric of hauntings, created this way, shows a poet inspired by daimonion’s voice and so regarded as theios aner. Miłosz recalls an antic tradition and the idea of divine inspiration (daimon) but above all the idea of daimonion created by Socrates: daimonion is perceived here as ‘a voice of god’, or ‘a divine touch’. In Miłosz’s poems that have a soliloqium form, the voice of his daimonion manifest itself through the rhythm and incantation of speech. Inspiring and ‘rhythmic whispers’ of a daimonion that take possession of the poet’s con-sciousness, are also regarded as a compulsion of metre, “disgust of rhythmic speech”. A struggle against a poem, against a “defect of harmony” (described by S. Balbus) is aimed also at daimonion’s incantation. However, the rhythmic whisper of daimonion favours the process of self-creation, its lack (as in the poem Bez daimoniona) directs attention to the autobiography and reveals an existential aspect of poet’s being.
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