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  1. 2 Ruch Literacki

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  1. 1 Kuczynska K.

  2. 1 Wenerska W.

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  1. 1 2008

  2. 1 2007

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1

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.
2

NORWID: COLOUR AND 'RAPHAEL'S RAINBOW'

100%
Kuczynska K.
Ruch Literacki
|
2008
|
vol. 49
|
issue 4-5
421-438
EN
This article examines the reminiscences of the painter's experience in the poetry of Cyprian Norwid, master of 'the chisel, the pen and the brush'. This is not the first analysis of this kind for the theme of Norwid's painterly inspirations has preoccupied a number of historians of literature, chief among them Kazimierz Wyka, author of the landmark monograph 'Cyprian Norwid: The Poet Magician'. This article focuses primarily on the relationship between the poetic and the painterly imagination of Norwid the 'itenerant magician'. In his introductory note to 'Vade-mecum' Norwid declares that it is better to avoid 'sumptuous colours and imagery' as they tend to diminish the poetic word. Yet his own poems are by no means colour-free. Their appearance is, however, subject to a peculiar set of rules, applied, as it seems, with special care in the case of such noble colours as white and gold. The article tries to identify the source of Norwid's use of colours in tradition, cultural codes as well as the personal creative experience of the poet-magician. In addition, it tries to find out why he was so averse to the idea of 'graphic' poetry. Finally, the authoress' examination of Norwid's texts has revealed, alongside the restrained and muted colour imagery, a surprisingly frequent recurrence of the rainbow motif. What made it so appealing to the poet? It is all the more striking as colour was not part of his basic poetic tool kit. To describe Norwid's technique, which earned him the epithet 'monochromatic', and a host of other peculiarities of his verse, the authoress of this article has coined the term 'decolouring of words'.
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