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  1. 2 Studia Norwidiana

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  1. 1 2013

  2. 1 2012

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  1. 1 Cedro A.

  2. 1 Giszczak J.

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1

Fortepian Szopena. Poezja i historia

100%
Cedro A.
Studia Norwidiana
|
2012
|
vol. 30
131-144
EN
The author tries to interpret in a new light a few motifs from Norwid’s masterpiece. It turns out that talking about Chopin changes into remarks on his art, which causes a certain difficulty in differentiating these two planes (biography and music). The motif of the dropped lyre (l. 9) playing spontaneously after Orpheus’ death allows stating that one of the basic themes of Chopin’s Piano is the problem of the life of art after the death of the artist. The poem makes one ask about this particular mystery that decides about the value and immortality of a work of art. Next the historical background is characterized of the origin of the poem and the circumstances and consequences are described of the attempt on the life of Governor Berg, that is, of the events that are thought to be connected with the genesis of the poem. In the last part a new interpretation is presented of the famous ending of the poem (l. 114-117), in which the significance of irony is lessened and the possibility is proposed of an almost literal understanding of the text. It is suggested that the ideal reaching the cobbles should be understood as an analogy to Christ’s Incarnation.
2

Jak brzmi francuski Fortepian Szopena o trudnościach przekładu literackiego

70%
Giszczak J.
Studia Norwidiana
|
2013
|
vol. 31
71-90
XX
It is a comparative analysis of three French translations of Chopin’s Piano: by Joseph Pérard (1937), Feliks Konopka (1957) and Krzysztof Jeewski (1983). The linguistic choices made by the translators make it possible to point to those parts of the text of the poem by Norwid that can hardly be translated – sometimes due to the very essence of the original language and of the language of the translation. The author also offers his own version of the translation of Norwid’s work.
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