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EN
Reymont’s unpublished letters noted down in a special notebook of his called Marzenia (Dreams) are his juvenilia that lack much literary value, yet witness the future Nobel Prize laureate’s struggles with poetry which would never become part of his work as he would find himself most skilled in writing prose. What is important in Reymont’s letters, however, are the signatures of his personality, his characteristic style of expression and traces of his readings. The early lyrical texts reflect his emotional experiences from the time of writing and contain traces of the people he met, especially Wiktoria Słupska, the love of his youth, to whom the volume of poems was dedicated. Recalling these poems became a chance to reconstruct Reymont’s biography from his stay in Warsaw at the time of his fascination with theatre and spending time with the Woliński family.
PL
The article provides an interpretation of Middle Ages, a poem from Stanisław Barańczak’s debut publication Facial Corrections (1968). Focussing on the way that numerous examples of zeugma and syllepsis are used, the author argues that this poem, which was probably inspired by the first Polish publication of the Waning of the Middle Ages by J. Huizinga, was created through the poet’s reflections on the structure of messianic time (kairos). As such it can be seen as both a polemic with materialism and a criticism of Christianity. In this way Middle Ages proves to be the first of post-secular Barańczak’s poems which herald the wealth of spiritual explorations in his later works.
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EN
The subject of this article is the Symphonie – Scalenia [Symphonies – Unifications] series contained in the juvenilia volume of Karol Wojtyła’s poetry entitled Psałterz Dawidów (Księga Słowiańska) [The Psalter of David (The Slavonic Book)]. The author, focusing on the semantics of the term “symphony,” points to those literary traditions from which the concept of combining literary and musical genres can be derived, especially the romantic correspondance des arts. Following this lead, the article shows that the poem Mοuσικη [Music] can be understood as the literary equivalent of a sonata-allegro. Above all, however, the author is interested in the very idea of the “symphony” in Wojtyła’s approach, which evolved in the later writings of John Paul II on music. The Pope’s favouring of the art of sounds as a mystical “speech without words,” which enables the harmonious combination of the human and the divine, is here presented as the transformation of his youthful idea of a “symphony” as comprehended in mediatorial terms (“merging,” “reconciliation,” “connecting”).
PL
Tematem artykułu jest cykl Symphonie – Scalenia zawarty w juwenilnym tomie poezji Karola Wojtyły zatytułowanym Psałterz Dawidów (Księga Słowiańska). Autorka, koncentrując się na semantyce terminu „symfonia” użytego przez młodego poetę w kontekście genologicznym, wskazuje na tradycje literackie, z których można wywieść koncepcję łączenia gatunków literackich i muzycznych, zwłaszcza na romantyczną correspondance des arts. Idąc tym tropem, pokazuje, że poemat Mοuσικη [Mousike] można czytać jako literacki odpowiednik allegra sonatowego. Przede wszystkim interesuje ją jednak sama idea „symfoniczności” w ujęciu Wojtyły, która ewoluowała w późniejszej myśli o muzyce Jana Pawła II. W uprzywilejowaniu przez Papieża sztuki dźwięków jako mistycznej „mowy bez słów” pozwalającej na harmonijne połączenie wymiaru ludzkiego z Boskim, autorka dostrzega przetworzenie młodzieńczej idei „symfoniczności” pojmowanej w kategoriach mediacyjnych (jako „scalanie”, „uzgadnianie”, „łączenie”).
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