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Shakespeare, czyli Wielkie łowy

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Komorowski J.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

7-28

EN

The symbolism of animals derived from medieval culture plays an important role in Shakespeare’s work, and it sometimes holds a place of great prominence. The same may be said of the motif of hunting for animals that can be as exotic and beyond reach as the elephant, or even completely fantastic. In Hamlet, the situation of the Prince of Denmark is described in terms of, symbolically charged, hunting, especially for a unicorn. The Greek Physiologus, as well as later bestiaries originating from it, informed that the best way to catch the wild and fierce unicorn was to send a virgin to the woods, and it was advisable that she be naked. Upon seeing her, the animal would soften, come close and trustingly lay its head in her lap. Shakespeare used this widespread visual-arts motif in the conversation between Hamlet and Ophelia before the performance of The Murder of Gonzago, wherein it functions only visually, without the animal ever being mentioned by name. When Hamlet, after a short, provocative exchange (‘Lady, shall I lie in your lap?’), rests his head in the girl’s lap, it is an onstage transposition of the iconographic, symbolical, motif. It refers to the previous ‘hunt for Hamlet’ effected by Claudius and Polonius, with Ophelia proffered as bait. But Hamlet is not only a unicorn; he is also the symbolic hart from the famous line ‘Why, let the stricken deer go weep,/ The hart ungalled play’. He escapes the hunters unscathed, ready to strike back. It is not accidental that Hamlet calls the provocative, tale-tell show “The Mouse-trap”, and as he stabs the unseen Polonius to death, erroneously thinking him to be the king hiding behind the tapestry, he shouts ‘How now! a rat?’ – because the diabolical symbolism of the mouse and the revulsion caused by rats also play a significant role in understanding the Shakespearean tragedy.

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Ile szkód przynieść może zawodowy polski teatr. Tadeusz Czacki i Gimnazjum (Liceum) Wołyńskie w kręgu spraw teatralnych

100%

Komorowski J.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 3-4(255-256)

297-312

EN

The relations between one of the most important Polish schools of the 19th century, the Volhynian Gymnasium (Lyceum) at Krzemieniec, and the theatre—as a phemomenon and institution—were complex and ambiguous. On the one hand, the tradition and the idea of the Polish National Theatre, founded by King Stanislaw August, was appreciated and held in high regard. The idea, epitomised by Wojciech Bogusławski, “the father of the national stage,” stressed the significance the theatre had in maintaining the national identity after the partitions, under foreign (at Krzemieniec, Russian) domination. In literature classes, the Gymnasium students were introduced to dramas written by the Polish Enlightenment authors and were taught about the educational role of theatre. They also read the most outstanding foreign dramas, by Molière and Shakespeare. One of the students, Franciszek Kowalski, went on to become a respected translator of Molière’s. On the other hand, however, the school authorities, concerned about the morality of its students and reinforcing its educational autonomy, viewed the travelling companies of Polish actors that visited the town with great suspicion, which was in line with Jean-Jacques Rousseau’s pedagogical ideas. This was also partly due to the fact that, although the companies were “children” of the National Theatre, they usually did not measure up to the Warsaw standard of artistic merit.

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Litewskie nowości : przegląd wybranych publikacji 1992-1994

75%

Komorowski J.

Ochrona Zabytków

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1995

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issue 1

122-125

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Shakespeare, czyli Wielkie łowy

Ile szkód przynieść może zawodowy polski teatr. Tadeusz Czacki i Gimnazjum (Liceum) Wołyńskie w kręgu spraw teatralnych

Litewskie nowości : przegląd wybranych publikacji 1992-1994