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Discussion on the four maps in question, depicting the places of birth, education and death of two Polish romanticist authors of two subsequent generations.
Nice does not rank amongst the major towns in the map of Polish Romanticism; for historians of the period, it is of almost no significance, if compared to e.g. Paris or Rome. However, Nice was domesticated in the history of our Romanticism as the most idyllic space of all, save perhaps for the imagined Soplicowo from Mickiewicz's 'Master Thaddeus'. It was namely created as such by Zygmunt Krasinski who had his love affair there with Delfina Potocka in 1840s, the time when the former provincial hole was turning into an international health resort. The text tells a story on Krasinski's stay in Nice at the moment the town was experiencing the said economic and social transition.
The legends on Piast and King Popiel are related to the lowering of waters of pre-Goplo lake, the locality of Kruszwica then being removed away of local water trade routes. Literature and historiography took up legends on the origins of Polish state during the Partition time (J. U. Niemcewicz, J. Lelewel). Juliusz Slowacki, who had never seen Goplo himself, was the only great Polish romantic author who resumed the theme, trivialised as it was by patriotic didacticism. The Goplo vicinity in 'Balladyna' and 'Lilla Weneda' has a colouring of their author's readings (Shakespearism, ballad-mania, political topicalities, Slowaczynski's dictionary of the geography of Poland, historical readings). Overlapping with Goplo was the image of Leman whose imagination-fertilising presence is testified to by the poet's correspondence and the Dedication Letter in 'Lilla Weneda'. Slowacki points out therein also to another segment of imagination: the 'Pinsk recollection'. In 'Król Duch', Goplo-related rhapsodes are dug out of the 'centuries-old memory' - and Slowacki's own memory; the poet added up a personal and romantic(ist) colouring to the Goplo vicinity. In building the entry in question, the author wanted to point to a diversity of visions of this historically important site in Polish culture and to the multi-ingredient poetic image of Goplo and the historic vicinity as depicted in Slowacki's vision.
Paris is a grand 'Book of Signs', a thing the great Frenchmen: Hugo, Balzac, de Nerval, Baudelaire - the thoughtful readers of the Book - knew well. Paris sucks poets into a whirl, affects their imagination and sensitivity, forces to contrive new genres of utterance. For Mickiewicz, Paris was infernal for it metaphorically assembled the whole evil, being the capital city of the world of those days. Mickiewicz, who had decided to fight evil and transform people, redeem the world and liberate Poland, became aware that Paris was the only place where to possibly take such actions - as it was the Book and the hell in one. Slowacki deemed Paris a reptile and a dragon, a living entity whose existence was independent of people's will. Paris formed Parisians, and Parisians lived the kind of life permitted by the dragon.
A history of the site where redoubt no. 54, made famous to Polish culture owing to Adam Mickiewicz's poem 'Reduta Ordona' (Ordon's Redoubt), was apparently located during the Warsaw Battle of September 1831. One is accustomed to believe that the piece has more fabrication to it than historic truth. However, comparison of topographic details with the poet's text indicates that Mickiewicz's portrayal of topographic details is surprisingly true. However, owing to the terrain's character and complications of historical memory, it has become highly complicated to find actual traces of the site where one of the most important Polish heroic myths was conceived.
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