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A creative reception of European and Polish poets is at the heart of Ryszard Krynicki's poetry. This article looks at his reception of C.K. Norwid both as a 'creative transfusion' of the work of a great pioneer by an heir who follows a few generations later and an instance of private, individual reading. Deliberately choosing a peripheral stance with regard to his own time, Krynicki reads Norwid as if the great Romantic poet anticipated the distinctive characteristics of 20th-century poetics (including Krynicki's own) such as silence, unobtrusive irony, 'stammer', or a peculiar responsibility for words, which becomes a means of demonstrating - both on level of explicitly formulated and implicit poetics - the poet's individual preferences. This issue is addressed in the first part of the article. The other part focuses on the poetic effect of Norwid's 'Sensitivity' (Czulosc), which haunts Krynicki with an obsessive intensity. Norwid and Krynicki encounter one another as 'poets of writing' - hence the reflections on various versions of Krynicki's Norwid poems and the question of the semantics of erasures.
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