„Czucie i uczucie człowieka”. Uwagi o Assuncie Norwida w świetle młodopolskiej recepcji
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Date
2022
Authors
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Journal ISSN
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Publisher
Towarzystwo Naukowe KUL, Katolicki Uniwersytet Lubelski Jana Pawła II
Abstract
Assunta jest poematem dygresyjnym, ujawniającym poglądy Norwida na sztukę, filozofię i religię. Zgodnie z założeniami estetycznymi romantyzmu sztuka ma swoje źródła w doświadczeniu wewnętrznym, przeżyciu religijnym, ma charakter metafizyczny. Modernistyczne interpretacje twórczości Norwida, którym został poświęcony artykuł, odsłaniają jej metafizyczne aspekty. Ustalenie kierunku i znaczenia wpływów staje się niezwykle ważnym zadaniem. Autor Assunty był postrzegany u schyłku wieku dziewiętnastego jako patron modernizmu, jego imię wymieniano wraz z imieniem Baudelaire’a, uwagi o nim pojawiały się w kontekście dyskusji na temat nowoczesnej literatury, teatru, sztuki aktorskiej. Twórczość Norwida wpisywała się w „paradygmat wzrokocentryzmu”, poeta nie stronił od optycznych metafor, stosował poetykę światłocienia, kadrowania przestrzeni, która w poemacie Assunta zyskała wertykalny charakter. Motywy doskonalenia, wzrastania pełniły w utworze istotną rolę. Refleksja nad ich znaczeniem pozwoliła ustalić rangę metapoetyckich uwag zawartych w Assuncie. Przypomniana w epoce modernizmu twórczość Norwida doczekała się wielu interpretacji, także krytycznych, opierających się na „kłopotliwych” przemilczeniach. Zenon Przesmycki sądził, że twórczość ta nie została w pełni zrozumiana, choć podjęto próby wpisania jej w estetykę modernizmu. Uznano jednak, że stanowi ona brakujące ogniwo w rozwoju polskiej poezji symbolistycznej (warto także podkreślić jej związki z „kolorystami” – jak nazywano impresjonistów). W Assuncie nawiązującej do Boskiej Komedii Dantego i Hamleta Szekspira zostaje ukazana kontemplacyjna ścieżka poznania. „Spojrzenie w niebo” jest więc aktem poznawczym, w którym rozum współistnieje z wiarą.
Assunta is a digressive poem showing Norwid’s views on art, philosophy and religion. According to the aesthetic assumptions of Romanticism, art has its source in internal experience, religious experience, and is of a metaphysical nature. Modernist interpretations of Norwid’s works, to which the article was devoted, reveal its metaphysical aspects. Determining the direction and significance of influences becomes an extremely important task. The author of Assunta was perceived at the end of the nineteenth century as a patron of modernism, his name was mentioned together with that of Baudelaire, comments about him appeared in the context of discussions on modern literature, theater and the art of acting. Norwid’s work was in line with the „paradigm of sight-centricism”, the poet did not avoid optical metaphors, he used the poetics of chiaroscuro and space framing, which in Assunt’s poem gained a vertical character. The motives of improvement and growth played an important role in the piece. Reflecting on their meaning allowed to establish the rank of the metapoetic remarks contained in Assunta. The works of Norwid, recalled in the era of modernism, have received many interpretations, including critical ones, based on „troublesome” concealments. Zenon Przesmycki believed that this work was not fully understood, although attempts were made to include it in the aesthetics of modernism. However, it was recognized that it was the missing link in the development of Polish symbolist poetry (it is also worth emphasizing its links with „colorists” – as the Impressionists were called). In Assunta, referring to the Divine Comedy by Dante and Shakespeare’s Hamlet, the contemplative path of knowledge is shown. „Looking to heaven” is therefore a cognitive act in which reason coexists with faith.
Assunta is a digressive poem showing Norwid’s views on art, philosophy and religion. According to the aesthetic assumptions of Romanticism, art has its source in internal experience, religious experience, and is of a metaphysical nature. Modernist interpretations of Norwid’s works, to which the article was devoted, reveal its metaphysical aspects. Determining the direction and significance of influences becomes an extremely important task. The author of Assunta was perceived at the end of the nineteenth century as a patron of modernism, his name was mentioned together with that of Baudelaire, comments about him appeared in the context of discussions on modern literature, theater and the art of acting. Norwid’s work was in line with the „paradigm of sight-centricism”, the poet did not avoid optical metaphors, he used the poetics of chiaroscuro and space framing, which in Assunt’s poem gained a vertical character. The motives of improvement and growth played an important role in the piece. Reflecting on their meaning allowed to establish the rank of the metapoetic remarks contained in Assunta. The works of Norwid, recalled in the era of modernism, have received many interpretations, including critical ones, based on „troublesome” concealments. Zenon Przesmycki believed that this work was not fully understood, although attempts were made to include it in the aesthetics of modernism. However, it was recognized that it was the missing link in the development of Polish symbolist poetry (it is also worth emphasizing its links with „colorists” – as the Impressionists were called). In Assunta, referring to the Divine Comedy by Dante and Shakespeare’s Hamlet, the contemplative path of knowledge is shown. „Looking to heaven” is therefore a cognitive act in which reason coexists with faith.
Description
Keywords
Assunta, poemat dygresyjny, ironia, modernizm, miłość, kontemplacja, Bóg, digressive poem, irony, modernism, love, contemplation, God
Citation
"Studia Norwidiana", 2022, Vol. 40, s. 73-97