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Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

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Ławski J.

Prace Filologiczne. Literaturoznawstwo

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2018

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issue 8(11) cz.2

83-94

PL

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

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Rzeka w czarnoromantycznym imaginarium: „Zamek kaniowski” Seweryna Goszczyńskiego

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Ławski J.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

455-478

EN

The subject of the present study is the image of river in the epic poem by Seweryn Goszczyński (1801−1876) The Castle of Kaniv (1828), which falls in line with the so called Dark Romanticism. The said current developed in the literature of English, German, French and Polish Romanticism. It was characterized mainly by extreme aesthetic effects, the symbolism of day and night, frenetic effects, pessimistic vision of human beings, nature, and history. Goszczyński significantly deepens this image of the world in Dark Romanticism by introducing considerably extensive aquatic symbolism, above all, river symbolism. It is mainly related to the geographical and cultural reality of Ukrainian lands, where the poet comes from. Thus the augmentation of the poetic role of the river, the Dnieper in particular.

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„Życie sieroty” Jana Barszczewskiego – czarny romantyzm spoza modelu „antagonizmu wieszczów”

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Ławski J.

Prace Filologiczne. Literaturoznawstwo

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2021

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issue 11 (14)

349-363

EN

The article presents the readers with a long forgotten drama Życie sieroty [The Life of An Orphan] by Jan Barszczewski (1780−1851), an outstanding Polish Romantic literature classic who produced his literary work in Saint Petersburg, Russia, Belarus, the former territory of Poland, and Cudowno, Ukraine. Barszczewski is the one who invented a unique model of referring to both the poetics of Dziady [Forefathers’ Eve] by Adam Mickiewicz and Godzina myśli [Hour of Thought] by Juliusz Słowacki. He consistently manages to refer to both of the great Polish Romantics avoiding any ‘antagonisms’ or juxtapositions of the bards whatsoever. Also, he successfully makes these references become a part of his dark and gloomy vision of the world. This literary phenomenon is at the same time one of the earliest examples of how artfully a poet can resort to inspirations of both authority figures of Polish Romanticism. What makes Barszczewski’s world consistent is his gloom-ridden and obscure vision of the cosmos where the ultimate consolation, in a metaphysical and afterlife sense, is religion − Roman Catholicism in its Easter Rite Catholic form.

PL

Autor artykułu przypomina Życie sieroty (1849), zapomniany dramat Jana Barszczewskiego (ok. 1780−1851), polskiego romantyka działającego w Petersburgu, na białoruskich ziemiach dawnej Rzeczypospolitej i w Cudnowie na Ukrainie. Barszczewski stworzył oryginalny model nawiązania równocześnie do poetyki Dziadów Adama Mickiewicza i Godziny myśli Juliusza Słowackiego. W mroczną, „czarną” wizję świata wpisał konsekwentnie odwołania do obu poetów romantycznych, unikając jakiegokolwiek antagonizowania, przeciwstawiania jednego wieszcza drugiemu. Jest to zarazem jeden z najwcześniejszych przykładów sięgania w romantyzmie polskim po inspiracje obu autorytetów. Spójność światu przedstawianemu Barszczewskiego zapewnia jego pesymistyczna, mroczna wizja kosmosu, w której jedyną pociechę − ale już w wymiarze pośmiertnym, metafizycznym − niesie religia, rzymski katolicyzm w jego odmianie unickiej.

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3 Prace Filologiczne. Literaturoznawstwo

3 Ławski J.

1 2021

1 2018

1 2015

Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

Rzeka w czarnoromantycznym imaginarium: „Zamek kaniowski” Seweryna Goszczyńskiego

„Życie sieroty” Jana Barszczewskiego – czarny romantyzm spoza modelu „antagonizmu wieszczów”