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Chopin as Romantic narrator (in his youth)

100%

Nowicka J. C.

Interdisciplinary Studies in Musicology

2010

issue 9

69-82

One can find the same features in Chopin’s correspondence as in his music. They share a wealth of emotions, expressivity and lightness, and also narrative and speech-like qualities. Far from programmicity and illustrative explicitness, Chopin the composer articulates musical content with an almost verbal force of transmission; his letters, meanwhile, bear the same distinct stamp of his personality that marks out his piano works. In both domains, Chopin may be called a narrator, but particularly interesting proves to be analysis of his correspondence, from the point of view of the narration of a Romantic ironical poem. Although one would be hard pressed to speak of an exact equivalence, it is worth taking into account the strong subjectivity, combined with irony and the writer’s self-irony, but above all his affinity with Schlegelian Romantic irony. This notion is of fundamental significance for changes to the subject in Romantic poetry and for the emergence of the form of the ironical poem. The creativeness of the text, the exposure of the subject, digressions, humour, leaps of thought and style, and a variability and transformation of content - those are just some of the characteristics of the ironical narrator. Also crucial to these considerations is the Romantic aesthetic of the fragment.

Norwid według Krasińskiego, czyli zawód nieproszonego wychowawcy

72%

Fiećko J.

Porównania

2022

vol. 31

issue 1

435-463

The author presents the development of the relationship between Zygmunt Krasiński and Cyprian Norwid, with commenting and focusing on the former writer’s point of view, expressed in letters to a number of addressees. The author points to the reasons for Krasiński’s disappointment after his attempts to position himself as Norwid’s literary mentor and spiritual guide. Krasiński exerted pressure on his younger friend to change his style, accusing him of too much ambiguity and "darkness of words", which made it difficult to understand the ideas behind the poet's ambitious works. Norwid rejected this criticism and defended the right to individualise his style and language, assuming that literature must force the reader to make an individual effort and actively interpret a work of art. The author claims that the dispute revealed fundamental differences in the approach to the rules of creation: while Krasiński referred to the idea of a poet-bard and poet-guide, popular among the first generation of Romantics, Norwid went beyond the Romantic standard.

Autor przedstawia rozwój relacji między Zygmuntem Krasińskim i Cyprianem Norwidem, eksponując i komentując przede wszystkim punkt widzenia pierwszego z tych pisarzy, wyrażany w listach do wielu adresatów. Wskazuje na przyczyny rozczarowania Krasińskiego, który próbował zająć w stosunku do Norwida postawę mentora literackiego i duchowego przewodnika. Autor Irydiona wywierał presję na rzecz zmiany stylu u młodszego przyjaciela, zarzucał mu nadmiar wieloznaczności, „ciemność mowy”, która utrudnia zrozumienie sensu myślowego ambitnych dzieł poetyckich. Norwid tę krytykę odrzucił, bronił prawa do indywidualizacji stylu i języka, przyjmował założenie, że literatura musi zmuszać czytelnika do wysiłku indywidualnego i czynnego odbioru dzieła sztuki. Autor stawia tezę, iż w sporze tym ujawniły się fundamentalne różnice w podejściu do reguł tworzenia, Krasiński odwoływał się bowiem do idei poety-wieszcza i przewodnika, charakterystycznej dla pierwszej generacji romantyków, natomiast Norwid wykraczał poza romantyczny standard.

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1 Interdisciplinary Studies in Musicology

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1 Fiećko J.

1 Nowicka J. C.

1 2022

1 2010

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Chopin as Romantic narrator (in his youth)

Norwid według Krasińskiego, czyli zawód nieproszonego wychowawcy