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Język poetycki Marcina Świetlickiego (na przykładzie Niskich pobudek)

100%
Śniedziewska M.
Prace Literackie
|
2010
|
vol. 50
115-128
EN
In the article I analyse the word play and linguistic tricks used by Marcin Świetlicki in his collection Niskie pobudki (2009). This poet has a great sensitivity to equivocal words, their similarity in sound but also the tension that results from unexpected puns. Thus, Świetlicki explores linguistic possibilities of the Polish language and this may be similar to the poetic diction of Piotr Sommer whose works Dariusz Pawelec called a “discreet type of linguism”. That is why I suggest that we compare Świetlicki’s “project” to the achievements of linguists. In this case we have to be very careful. Even if his linguistic techniques seem to be similar to those of linguistic poets, the thesis about his linguism, resulting from this comparison, may be too far-fetched, as it comes to our mind too quickly. The language is not the main protagonist of Świetlicki’s poems (despite the fact that the poet exposes language mechanisms). The protagonist is a human being, and may very often be associated with the author himself. It is in the language that he proves his existence, though the language itself is in the background. Niskie pobudki shows Świetlicki’s great linguistic skills. He consistently shows his readers that he has developed his own distinctive style and his unique poetic voice.
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Lexikální opakování v Máchově Máji

63%
Prokop D.
Česká literatura (Czech Literature)
|
2008
|
vol. 56
|
issue 2
182-201
EN
By ‘lexical repetition’ the author of this article means simple or multiple repetition of individual words or groups of words. The most frequent kind is the repetition of words in various positions in a line, in an identical or inflected form, as much as twenty lines away; the most frequent kind is repetition between five and ten lines away. The second kind is repetition in rhetorical figures, for example in the anaphora, the epiphora, the climax, and word play. The normal distance here is one to two lines, but the author examines greater distance (for example, seven to eight lines) and also instances of approximate repetition. An unusually large number of both occur in Mácha’s Máj (1836), particularly in anaphoras and epiphoras. The third kind is repetition at large and very large distances, within a part of Máj or between its parts, and, mainly, longer passages, for example the oxymora (metaphors) in Cantos II and IV. Apart from repetition, the passages also often contain variation, the shortening or expanding of the initial passage. The proportion of repeated words in the poem is such that one must consider them to be Mácha’s chief marked means and approach (almost half the total 4,280 lexical units are repeated words). From the large number of occurrences the author of the article selects representative examples of various repetitions. In both his commentary and overall conclusions he points out their formal and semantic references.
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