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Jesienny deszcz — jesienny płacz. Między muzyką a poezją (Verlaine i Staff)

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Sokołowicz M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

34-44

EN

At its beginnings poetry was always connected with music. In Ancient Greece poetry was not only sung, but also danced. Later, the arts separated. However, in Romanticism music became once more a very important notion for poets. Romantics believed that music helped to create the landscape of the human soul. For the same reasons, musicali-ty of poetry fascinated symbolists. In my article, I am analysing two poems of Paul Verlaine, a French romantic very im-portant also for the Symbolist mouvement, and a master piece of Young Poland’s Sym-bolism and Impressionism poetry by Leopold Staff. As the poets use a number of pro-ceedings to change their words into music, the three poems are very musical. Taking into consideration that symbolists believed that music was able to transmit emotional meanings, the musical form helped them to prepare their readers to come to a deeper sense. Not containing any story, all poems are purely lyrical. Each of them evokes autumnal rain which mix with tears, all poetic personae being extremely sad. The musicality lets the readers understand deeper their sadness which reflects also their powerlessness, so famous in the Decadent mouvement. Briefly, thanks to the use of music the poets man-age to draw a beautiful picture of a Decadent soul.

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Nieustające powroty. O literackim i artystycznym odkrywaniu Mallarmégo

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Opiela-Mrozik A.

Przegląd Humanistyczny

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2017

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vol. 61(4 (459))

163-171

PL

The article discusses selected literary and artistic discoveries of Mallarmé’s aesthetics from the end of the 19th to the beginning of the 21st century. Mallarmé, whom Verlaine included in the circle of “poètes maudit” and who was considered a master of decadence thanks to Huysmans’s novel Against Nature, was announced a surrealist in Surrealism Manifesto by André Breton and his name appeared in the writing of Valéry and other 20th-century poets and writers. The Cubists were delighted with “spatialization” of poetry in A Roll of the Dice. In addition, constant discovering of the poet by the composers – from Debussy and Ravel, through Boulez, to the contemporary artists such as Marc-André Dalbavie or Jean-Luc Hervé cannot be overlooked.

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Une traduction qui fait un manifeste. Art poétique de Verlaine et Sztuka poetycka de Miriam

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Łukaszyk E.

Romanica Silesiana

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2017

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vol. 12

FR

The Polish translation of Verlaine’s Art poétique marks an important step in the process of acquisition of symbolism as a new paradigm of poetic creation. The analysis presented in this paper puts in the limelight the problem of positioning the translated text in the receptive literary system. The analytic proposal implies the employment of the term “embeddedness,” originally introduced by the historian Karl Polanyi, to render the implication of the non-economic factors in the process of production. Analogically, the production of literary texts is conditioned by factors situated at the frontier of literature. Those wishing to adopt a foreign aesthetics must vanquish the resistance of the local, traditionalist context. As a result, the translation is “embedded” as a manifesto, even if Verlaine’s Art poétique is a parody of the genre and an expression of the poet’s creative doubts rather than a truly prescriptive text. The auto-ironic dimension of the original poem disappears in the Polish translation by Miriam, which becomes a rigorous ars poetica.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Przegląd Humanistyczny

1 Romanica Silesiana

1 Opiela-Mrozik A.

1 Sokołowicz M.

1 Łukaszyk E.

1 2018

1 2017

1 2012

Jesienny deszcz — jesienny płacz. Między muzyką a poezją (Verlaine i Staff)

Nieustające powroty. O literackim i artystycznym odkrywaniu Mallarmégo

Une traduction qui fait un manifeste. Art poétique de Verlaine et Sztuka poetycka de Miriam