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EN
The subject of the article is a volume of poetry Kwiatki polne (1884), written by Maciej Józef Brodowicz, a renowned Krakovian physician, who at the age of ninety-four published autobiographical poems. The main theme in most of them is old age understood as existential experience and a biographical circumstance, justifying the attempts to synthesize the author’s life in the form of verse. Two reviews of the volume by Lucjan Siemieński and Stanisław Tarnowski constitute the context for reading his poems. The reviews also bring up the question of old age as an essential component of the language of the critique itself, allowing to fill the gap originating from the lack of more precise and appropriate criteria for the analysis of conventional poems.
EN
Romantic literature, dominated by the great artistic personalities (of Mickiewicz, Słowacki, and Krasiński), was founded on the category of “folksiness” and “folk culture”, understood as a mythical and spiritual foundation of the Polish identity. However, the dominating trend of “high” Romantic literature was accompanied by the lyrical work of the inland poets, who created another social project, based on the desire to be “the voice of the common people”.“Narzeczony”, “Napierski” and “Czerniawa” are three original poems by Lucjan Siemieński, stylized after rustic dumkas and focused on peasant revolts. The perspective of Siemieński’s poetry enables us to see the “Mickiewicz’s era” as a heterogeneous structure, leaving space for the inland poetry that lets the “folk histories” resound and that treats the issues of peasants as vital societal problems even if they were marginalized within the dominating discourse. The case of Siemieński opens up a perspective of reading the Romantic inland poetry as a space within which there could be produced a revolutionary language of a new social order. 
PL
Literatura romantyzmu, zdominowana przez wielkie indywidualności artystyczne (Mickiewicza, Słowackiego, Krasińskiego), została ufundowana na kategorii „ludowości”, rozumianej jako mityczny, duchowy fundament polskiej tożsamości. Obok dominującego nurtu „wielkiej” literatury romantycznej w epoce tworzyli jednak także poeci krajowi, którzy wypracowali poetycki projekt społeczny, zasadzony na pragnieniu mówienia "głosem ludu".Narzeczony, Napierski i Czerniawa to trzy oryginalne utwory Lucjana Siemieńskiego, stylizowane na ludowe dumki i poruszające tematykę buntów chłopskich. Spotkanie z tekstami Siemieńskiego pozwala spojrzeć na „epokę Mickiewicza” jako strukturę niejednolitą, w której znalazło się miejsce także dla liryki krajowej, pozwalającej wybrzmieć „ludowym opowieściom” i traktującej kwestię chłopską jako żywy, choć zmarginalizowany w dominującym dyskursie, problem społeczny. Przykład Siemieńskiego otwiera perspektywę odczytywania romantycznej poezji krajowej jako przestrzeni, w obrębie której mógł wytworzyć się rewolucyjny język nowego porządku społecznego.
EN
This article is a republication of an unknown poem by Norwid, entitled Blade kłosy na odłogu [Pale ears on the fallow...]. The text is taken from the sheet music edition of two songs published by Kazimierz Lubomirski (the latter song is authored by Lucjan Siemieński), developed for voice and piano. Most probably, the score was published in the spring of 1851. The article attempts to unveil the circumstances of how the work came into being and it settles the problem of its unclear authorship and roots. Moreover, it shows a story of a musical piece that has for long remained unknown, and which was well-recognized in the realm of household musical culture at the turn of the 20th century.
EN
This article is a republication of an unknown poem by Norwid, entitled Blade kłosy na odłogu [Pale ears on the fallow...]. The text is taken from the sheet music edition of two songs published by Kazimierz Lubomirski (the latter song is authored by Lucjan Siemieński), developed for voice and piano. Most probably, the score was published in the spring of 1851. The article attempts to unveil the circumstances of how the work came into being and it settles the problem of its unclear authorship and roots. Moreover, it shows a story of a musical piece that has for long remained unknown, and which was well-recognized in the realm of household musical culture at the turn of the 20th century.
EN
This article is a republication of an unknown poem by Norwid, entitled Blade kłosy na odłogu [Pale ears on the fallow...]. The text is taken from the sheet music edition of two songs published by Kazimierz Lubomirski (the latter song is authored by Lucjan Siemieński), developed for voice and piano. Most probably, the score was published in the spring of 1851. The article attempts to unveil the circumstances of how the work came into being and it settles the problem of its unclear authorship and roots. Moreover, it shows a story of a musical piece that has for long remained unknown, and which was well-recognized in the realm of household musical culture at the turn of the 20th century.
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