Wyniki wyszukiwania - Biblioteka Nauki

Ten serwis zostanie wyłączony 2025-02-11.

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

1 Pamiętnik Literacki

1 2013

1 Szwed P.

Znaleziono wyników: 1

Liczba wyników na stronie

Wyniki wyszukiwania

Wyszukiwano:
w słowach kluczowych: MICKIEWICZ’S “THE GREAT IMPROVISATION”

Sortuj według:

Ogranicz wyniki do:

Wielkie improwizacje Lesmiana. Scena druga „Dziadow” drezdenskich a wizja literatury, czlowieka i Boga w poezji autora „Napoju cienistego”

100%

Szwed P.

Pamiętnik Literacki

2013

tom 104

nr 1

5–44

The article pays attention to one of the most important sources of Lesmian’s poetic imagination, namely Adam Mickiewicz’s The Great Improvisation. From the time of composing his earliest pieces, such as Sonet II (Sonnet II) to the great poems closing the collection Napoj cienisty (Shadowy Drink), Lesmian derived from it images, metaphors and paraphrased Mickiewicz’s “winged words,” making Konrad’s grand monologue one of the most important context of his literary creativity. Each of the four chapters with quotes from The Great Improvisation used as titles concentrates on a different aspects of Lesmian’s creative reading of the most famous scene from Forefathers’ Eve Part III. In the first chapter „Piesni ma, tys jest gwiazda za granica swiata!” (“My song, you are a star beyond the confines of the world”) the author points at the relationships between Lesmian’s poetry and the romantic conception of internal song. In the second one “Lecz jestem człowiek, i tam, na ziemi me cialo” (“But I am a man and there on Earth is my flesh”) he shows how insightful as regards the point of view of Konrad – an immature character and childish in his desire to speak with the Creator – is Lesmian’s reading of The Great Improvisation. The two final chapters “Smialo, smialo! te iskre rozniecmy, rozpalmy” (“Go ahead and strike the spark”) and “Jeslim nie zgadl, odpowiedz” (“If I am wrong, respond”), the most thorough ones, are devoted to an interpretation of the poem W locie (Flying) and the poem Eliasz (Elias) in both of which, yet again, in Lesmian’s creativity a hugely important role is played by the rule of “self-creation” and “self-destruction.”