Poematy Konstantego Ildefonsa Gałczyńskiego

Abstract

The book Poetic works by Konstanty Ildefons Gałczyński constitutes a monograph devoted to 14 poetic works, especially Ball at Solomon’s, Isolde’s earrings, Niobe and Wit Stwosz, that is the works which played an important role in his pre-war and post-war literary output. The series of poetic works also includes Wild wine being close to other poetic works, especially Olsztyn chronicle, in length and structure. Starting from The end of the world, poet’s deepened interests in grotesque and satire are visible, whereas his Ball at Solomon’s, which can be regarded as a masterpiece, constitutes a manifestation of nadrealism, fantasy and dramatic lyric poetry. Big forms of poematic works were also created by Gałczyński after war. Between 1945 and 1948 three important works were created: Notes from unsuccessful Parisian retreat, Isolde’s earrings and Enchanted carriage. The last two introduced the forms of the poematic work divided into voices constituting a symphony and music concert stylization. What happened at the same time was a specific dramatization of the poem. Between 1949 and 1953 the spread of a socialist realism begins in Poland. In 1950 the poet is strongly criticised for “a lower middle-class aesthetism” and lack of an ideological engagement. It results in a ban on the publication of his works. After an over year silence, Gałczyński, after Jerzy Putrament’s and other artists’ interference, somehow is back in grace, but has to start a battle to save what has been the best in his poetry so far. He comes back again to the form of a poematic work, as in the case of Niobe, suggesting innovative solutions and artistic ideas. Just before his death, Gałczyński writes Hymns, a testament constituting a defense and manifestation of the poetic mood based on classic models, music motives and love lyric poetry. The second part of the book deals with the analysis of the poet’s world of imagination, the nature of presented images and visions. The author thoroughly discusses the motives of light, music, thing and moon. Gałczyński’s imagination was not dominated by the worlds of lower middle-class and suburban culture, the world of funfairs, carnivals, folk entertainment and shops with old things and strange objects. These motives and objects are relatively frequent in Gałczyńśki poetry, particularly in his pre-war works, though they come back after war in Enchanted carriage recreated by a fairy-like atmosphere of Cracow by night. The very trend, though, often loses in favour of “festive everyday life”, poetry of happiness and love. As late as at the end of Gałczyński’s life, the topics so far unknown start to appear, namely nature and lanscape of Mazuria, retreat of forester’s lodge Pranie, its lake and forest. The very motives are accompanied by strong Arcadia accents, but also the stigmas of coming death. They played a crucial role in saving what was in Gałczyński’s poetry most important.