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1

Jak Świderski tłumaczył Merciera. Olind i Sofroni

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Dąbrowski R.

Konteksty Kultury

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2012

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vol. 8

PL

Jędrzej Świderski translated Olind et Sophronie, a prose play by Louis Sébastien Mercier, into Polish, in verse of thirteen syllables. This work references the event known to its contemporary readers, shown in Jerusalem Delivered by Torquato Tasso. However, Mercier had changed and expanded a thread of the Italian epos, introduced new characters and connected them with family bonds, e.g. the sorcerer Ismen turns out to be Sophronie’s father. The Polish version is slightly shorter, but all events and characters from the French play have been retained. However, Świderski arranged the accents in a slightly different manner. The events of military character are narrated in more detail, patriotic feelings have been expressed more prominently. The Polish author has also slightly toned down the negative traits of some characters, and on the other hand, paid less attention to the psychology of characters, and given rhetorical character to their dialogues. As a result, Świderski’s translation is closer to the tradition of heroic poetry.

2

„Czasem prawda nie będzie podobna do wiary”. Uwagi o wyższości prawdopodobieństwa nad prawdą w estetyce oświecenia

100%

Dąbrowski R.

Konteksty Kultury

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2011

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vol. 7

PL

The principle of probability was in the period of Enlightenment almost entirely accepted, mainly (although not only) within the framework of the aesthetics of classicism. The above is confirmed by a number of aesthetic and literary statements of that age. Probability which evoked all that was general, that could have happened, was considered more important than the truth, which referred to individual facts. It was connected with the possibility of a certain derogation from the truth accepted by the recipients, so that the work could satisfy the didactic function (e.g. by showing the triumph of virtue), or in order to present things not the way they really are, but the way they might be. Fidelity to the probability principle was also supposed to serve the creation of an illusion in the recipients’ awareness. In various genres, this possibility of the truth modification would look different (for example, talking animals were acceptable only in a fairy tale). However, new aesthetic concepts entail the departure from the probability principle, frequently in the direction of the truth understood in a new manner.

3

Wanda, królowa sarmacka – próba epopei

100%

Dąbrowski R.

Konteksty Kultury

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2013

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vol. 10

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issue 1-2

PL

1809 saw an anonymous publication of a fragment of the poem Wanda, królowa sarmacka [Wanda, the Queen of Sarmathians]. We read that Wanda, the daughter of Krakus, wanders with her companions as an envoy to the Jazyges to ask them for help against the Germanic invaders led by Rotygar. On their way they meet a pious hermit who advises them on the value of virtue and predicts the princess’s future. During their further voyage, as they are sailing down the Danube, a storm caused by the wind god Pochwist on request of the love goddess Dzidziela destroys their barge. Wanda’s companions die while she survives and travels on, holding on to a piece of the barge. Wanda recalls the tradition of epic; the author introduces motifs typical for this genre, including the epic machinery, replacing the ancient gods with characters from the Slavic mythology, opposing the decrees of the Christian God. The work, however, has also some distinct features of a descriptive poem. Wanda is a very good indication of changes which occurred in epic poetry in early 19th century.

4

„Nie złodziej, lecz sprawny”. Uwagi o językowym odwróceniu wartości w satyrach Ignacego Krasickiego

100%

Dąbrowski R.

Konteksty Kultury

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2012

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vol. 9

PL

The subject of criticism in Ignacy Krasicki’s satires is, apart from an array of phenomena of his contemporary society, such use of language which results in falsification of the described reality. As a result, instead of naming negative phenomena and attitudes directly, by their proper names, the language is used to justify them, e.g. through various euphemisms or positively valuating epithets (Złość ukryta i jawna), or even to invert the value of misdeeds, shown as something good (Palinodia). Krasicki often shows environments (such as a court in the satire Życie dworskie) where appearances are predominant, where “politeness” means more than truth and good. The language loses its normal communicative ability, serving hollow conversation, game or manipulation. This problem is of universal character, appears to a varied degree and in various forms almost always and everywhere, and this, to a large degree, makes Krasicki’s satires still relevant.

5

O czym jest Pijaństwo Ignacego Krasickiego?

100%

Dąbrowski R.

Konteksty Kultury

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2014

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vol. 11

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issue 1

PL

What is Pijaństwo by Ignacy Krasicki about?The article makes an attempt to show various options of interpretation of Ignacy Krasicki’s satirePijaństwo [Drunkenness]. The point of departure is a thorough analysis of the work, leading us to a conclusion that it has a many-sided sense. It concerns not only the eponymous phenomenon of abuse of spiritsbut also a psychological mechanism of justification of our own behaviours considered as negative, as well as the ineffectiveness of persuasion. It turns out that the characters indialogue actually deliver separate monologues, and the poet does not identify himself clearly with any of them, as he does not accept authoritative moralizing which takes heed neitherofspecific circumstances of the criticized phenomenon nor of the receiver’s viewpoint and opinions. An importantrole in the satire under discussion is also played by the category of comedy. The article also shows the relationship between the subject matter of Pijaństwo and the entire cycle of satiresby Krasicki, as well as some of his other works (particularly fables)

6

Filomela, słowik i poeta. O Naruszewiczowskim przekładzie ody Jeana‑Baptiste’a Rousseau

100%

Dąbrowski R.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 34

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issue 4

25-33

EN

The article is devoted to the analysis of the poem by Adam Naruszewicz Duma do słowika that is the translation of the ode by Jean‑Baptise Rousseau, A Philomele. The poem’s narrative order is marked out by the comparison of the two texts; and all that is done to show the way Polish poet rendered the original text. In the article particular attention is paid to the differences between fragments of the French work and Polish Duma do słowika. But above all, the analysis brings out the fact that Naruszewicz’s style was quite distinct, and the relation of lyrical I to the recipient of the utterance is slightly different from that in the Rousseau’s poem, which is particularly noticeable in the ending passage of the Polish work. Important features of the Naruszewicz‑as‑a‑translator’s technique are also discussed.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

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Jak Świderski tłumaczył Merciera. Olind i Sofroni

„Czasem prawda nie będzie podobna do wiary”. Uwagi o wyższości prawdopodobieństwa nad prawdą w estetyce oświecenia

Wanda, królowa sarmacka – próba epopei

„Nie złodziej, lecz sprawny”. Uwagi o językowym odwróceniu wartości w satyrach Ignacego Krasickiego

O czym jest Pijaństwo Ignacego Krasickiego?

Filomela, słowik i poeta. O Naruszewiczowskim przekładzie ody Jeana‑Baptiste’a Rousseau