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. |