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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.
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.
The article postulates a fundamental disparity between the two romanticisms represented by Mickiewicz and Słowacki. The author invokes opinions of critics on the relations between the bards, introduced by Manfred Kridl and well established in popular reception. The factors influencing the discrepancy between the literary worlds of Mickiewicz and Słowacki include generational gap, involving heterogeneous life experiences, attitudes to national literature and literary models conditioned by the poets’ belonging to different generations as well as Słowacki’s original poetic imagination and his creative disposition.
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.
In my essay The Monster that therefore I am I attempt to sketch the ethical and etymological roots of a Polish monster. The literary context of Adam Mickiewicz’s Dziady and Bolesław Leśmian’s Dusiołek is of particular importance. On the basis of these texts it is possible to sketch a model of the Polish monster, who fundamentally differs from its Western counterpart due to its specifically ethical function. The title of the article is a travesty of the title of Jacques Derrida’s text The Animal that Therefore I am and refers to the French philosopher’s reflection upon the otherness/difference.
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