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„Rozmiłowałem się w Jeziorze Genewskim”. Zygmunta Krasińskiego kilka wizji Lemanu

100%

Kolbuszewska E.

Góry, Literatura, Kultura

2010

vol. 5

45-66

Zygmunt Krasiński stayed in Geneva – with some intervals for trips to the Alps – for exactly one year, from 3 November 1829 to 3 November 1830. From the very first moment of his stay in the city, he became particularly fascinated with Lake Geneva (Léman). He watched it from the board of a steam ship and a sailing boat; he walked around it at night and went on boat trips during the day; he learned to swim in it so well that he managed to swim across it. He would write his literary works on its shores, would experience strong emotions, walking around it and becoming moved in the famous Chillon castle. Hence the amazingly frequent recurrence of descriptions of and reflections on the Léman in Krasiński’s letters to his father and in the works he wrote during that year. Krasiński discovered various aspects of the Léman’s beauty; descriptions of the lake were for him an important opportunity to hone his literary skills. In these concise descriptions, he used suggestive colour effects, aptly showing their changeability depending on the lighting of the lake surface; influenced by Mickiewicz’s poetry, he mastered the art of using the motif of the surrounding landscape reflected in the water. Krasiński treated the Léman not only as a subject of aesthetic contemplation, but also a source of entertainment and leisure. Whenever an opportune moment came and the weather was fine, Krasiński would go on a boat or steamship trip on the lake, would sail on it and even often would swim in it both during the day and at night. Significantly, he did not like steam boat cruises but loved sailing. For Krasiński describing the Léman was an excellent school of writing. His literary skills were not only formed but became mature both in short sketches and in the Diary, and perhaps primarily in the numerous letters to his father. Shortly before leaving the Léman, on 28 October 1830 Krasiński wrote a short poetic prose sketch in French entitled Adieu aux environs de Genève (A farewell to the environs of Geneva). The author realised that the stay on the Léman completed a period in his life and that this period was indeed important. A farewell is the fullest and perhaps artistically most mature expression of the author’s personal attitude towards the landscape and nature which the young poet came to treat as the closest friends. We could say that despite the great pathos, despite the clear and perhaps exaggerated exaltation, in this short sketch Zygmunt Krasiński achieved full psychological truth and, consequently, maturity as a Romantic writer.

Walka o Słowo. Odpowiedź Spirydionowi Prawdzickiemu

88%

Saganiak M.

Prace Literackie

2010

vol. 50

51-70

The article examines Psalmy przyszłości [Psalms of the Future] by Zygmunt Krasiński, Odpowiedź na “Psalmy przyszłości” [Answer to the “Psalms of the Future”] by Juliusz Słowacki and two polemic psalms added by Krasiński: Psalm of Sorrow and Psalm of Good Will. The author treats them as a dialogue and uses Bakhtin’s understanding of the dialogic word to describe it. Due to the limited scope of the publication, she focuses in particular on the second part of the dialogue, namely Answer to the “Psalms of the Future” by Juliusz Słowacki. She assumes that Bakhtin’s category of the word is related to the category of the act and resembles the Romantic philosophy of the act. Bakhtin, just like Romantic thinkers, looked at a word (utterance) from a pragmatic point of view. A word reveals an idea, which means that it is uttered responsibly as something true (this does not exclude the use of any fi ctional elements in the utterance) and as something that expresses our ideological, ethical and political choices made in this very historical moment. Bakhtin’s categories enable us to describe precisely the position of Słowacki’s reply to Krasiński’s Psalms. The author’s analysis demonstrates a very complex architecture of Answer to the “Psalms of the Future” in which we find all types of Bakhtin’s double-voiced words (unidirectional, active and parodic words) but also the author’s direct words. The analysis, carried out by means of Bakhtin’s categories, reveals both the inner complexity of historiosophical ideas of late Polish Romanticism, and intellectual, emotional and volitional relations between the two friends. There were great forces between them that connected them but also divided them. That is why Answer to the “Psalms of the Future” has its own dynamism. First we can notice its parodic and polemic elements which manifest themselves in the use of the double-voiced word. Then emerges, however, Słowacki’s single-voiced word which is presented as clearly opposite to Krasiński’s word. At the same time when the ideological opposition is revealed, we can see a strong emotional relation between the two men and Słowacki’s desire to rebuild the destroyed bond with his friend. The last part of the discussion, namely two psalms added later by Krasiński, shows the liveliness of Krasiński’s idea, flexibility of his imagination and breadth of his horizons. This is manifested in the creative transformation of his own ideas under the infl uence of the dialogue with his great adversary (and under the infl uence of historical events of the Galician Slaughter). Psalm of Sorrow and Psalm of Good Will also seem to show that the friends can sustain their bond even though they may differ in their ideas about history and action.

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1 Góry, Literatura, Kultura

1 Prace Literackie

2 2010

1 Kolbuszewska E.

1 Saganiak M.

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„Rozmiłowałem się w Jeziorze Genewskim”. Zygmunta Krasińskiego kilka wizji Lemanu

Walka o Słowo. Odpowiedź Spirydionowi Prawdzickiemu