Studia Norwidiana <p><strong>Studia Norwidiana</strong> belong to unique Polish scientific journals and are entirely devoted to research on one of the greatest Polish and European poets and artists. The journal publishes the works of the most outstanding Norwid experts from domestic and foreign centers.</p> Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawła II en-US Studia Norwidiana 0860-0562 Norwid’s Poland <p>The article reconstructs Cyprian Norwid’s vision of Poland and Polishness as one of crucial themes in his works since it constantly recurs in his reflections. Analysis covers Norwid’s statements regarding the territory of Poland, its position in Europe, form of government as well as social, cultural and ethnic structure. These questions are situated in the context of the poet’s biography, ideas and postulates. In this light, he is revealed to be an insightful and bold republican thinker, open to diversity, intellectually modern, and deeply attached to tradition. A true patriot, he sought to reconcile various political options in the spirit of universalism rooted in religious values.</p> Marek Stanisz Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 5 35 10.18290/sn2240.1 Irony, virtue and “fear of ridicule”. (Herbert – Norwid) <p>The article examines the relationship between irony and virtue in works by Cyprian Norwid and Zbigniew Herbert, arguing that these concepts are crucial for both authors. As such, the article is situated in the area of studies devoted to the presence of the Norwidian tradition in writings by Herbert. His famous poem “Mr. Cogito on Virtue” is a case in point. A close reading of this piece makes it possible to claim that Herbert’s considerations of virtue are modelled on Norwid’s ironic imagination, with irony revealed as one possible incarnation of virtue. Development of images representing the two concepts bases on personification of allegory, made accessible and unique thanks to the de-conventionalizing gesture of anthropomorphism, which causes the images of both female heroines to turn ironic. An important place in these considerations is occupied by the relationship between virtue and irony in a cultural perspective, which is aptly rendered by the metaphor of sisterhood. As the sister of truth, irony is also the sister of virtue. A form of axiological memory, virtue conditions civilizational progress. The irony of the situation diagnosed by both poets consists in the reversal of meanings and values, as a result of which mockery leads to the rejection of the only guarantee of development, while the accompanying fear of ridicule causes most people to refrain from leading virtuous lives, paradoxically foreclosing growth. The relationship between virtue and irony would thus consist in disclosing the improper character of this situation. At the same time, irony is revealed as the answer to today’s lack of virtue brought about by deterioration premised on the rejection of “thinking in terms of values.” Accordingly, the greatest import of the relation between irony and virtue seems to consist in the attempt to restore axiological order.</p> Lidia Banowska Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 37 56 10.18290/sn2240.2 Myth and mythologizing in Norwid’s painting the Siberian.Reconnaissance <p>The article examines the myth of Siberia in Norwid’s lectures <em>On Juliusz Słowacki </em>and in the poem <em>Siberias</em>, which provides more context. Analysis employs three theoretical perspectives – Mircea Eliade’s phenomenology of myth, anthropological functionalism and Roland Barthes’s concept of myth – to demonstrate that similarly to his predecessors Norwid craved for a living myth and created a Siberian mythology he would regard as pragmatic and functional. Its goal was to organize the community and give shape to a nation deprived of statehood. This function was to be played by a Siberian mythology, which surpasses ethnocentrism by pointing to Christianity as the mythical core capable of uniting European culture. Interpretations of Słowacki’s <em>Anhelli </em>and Norwid’s poem <em>Siberias </em>reveal the metaphorical image of Siberia spilled all over the world. The actual geographical location, entangled in current political realities, is used by the poet as material for his mythical narrative, or a second-order semiological system, as Barthes defined myth.</p> Paulina Abriszewska Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 57 72 10.18290/sn2240.3 “Sense and feeling in man”.Comments on Assunta Norwid in the light of Young Poland’s reception <p><em>Assunta </em>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 <em>Assunta </em>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 <em>Assunt’s </em>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 <em>Assunta</em>. 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 <em>Assunta</em>, referring to the <em>Divine Comedy </em>by Dante and Shakespeare’s <em>Hamlet</em>, the contemplative path of knowledge is shown. „Looking to heaven” is therefore a cognitive act in which reason coexists with faith.</p> Hanna Ratuszna Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 73 97 10.18290/sn2240.4 Equivalence and acceptability of Norwid’s works translated into english <p>The article is a continuation and a revision of its author’s research on English translations of Norwid’s works. The questions which are put forward (who translates Norwid’s texts? Which texts? in what way? why?) are viewed from a translatological perspective. The author shows discrepancy between the method of translating Norwid’s works (which strive at full equivalence and loyalty) and their reception by the target audience. Acceptability depends on the full comprehensibility of translations by their readers who understand Polish connotations only to a limited extent as these border on untranslatability.</p> Agata Brajerska-Mazur Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 99 116 10.18290/sn2240.5 Is Norwid the author of the sonnet Loneliness? <p>The article discusses Juliusz W. Gomulicki’s attribution of the sonnet <em>Loneliness </em>as a poem by Norwid, which led the editor to include it among the poet’s lyrical works. In this piece, however, neither the specific development of the theme of loneliness, nor elements of style, argumentation and construction seem to confirm this.</p> Piotr Chlebowski Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 117 130 10.18290/sn2240.6 Norwid’s nerves of faith <p>The article offers an interpretation of Norwid’s poem “Nerves” from the volume <em>Vade-mecum </em>in the context of the correspondence between the poet and Joanna Kuczyńska. One important aspect of their exchange was his understanding of faith and Christianity in the cultural context. The key to this interpretation is Norwid’s ambition to revise religiousness and faith, or the urge to revive Christianity in the spirit of kalokagathia.</p> Krzysztof Korotkich Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 131 146 10.18290/sn2240.7 Letter from Cyprian Norwid to Bronisław Zaleski from the Dzików collection of the Tarnów counts <p>The article examines a hitherto unknown letter by Cyprian Norwid, dated 4 February 1870. The autograph, published together with critical commentary, was considered lost but is now held in the Tarnobrzeg Historical Museum, where it was donated in the autumn of 2021 as part of the remarkable Dzików collection amassed in the the early nineteenth century by Waleria nee Stroynowska and her husband Jan Feliks Tarnowski. A short presentation of the history and content of the Tarnowski collection is followed by a discussion of the context in which the letter was written, in particular Norwid’s preparations for a literary meeting organized by Eleonora Czapska in Paris. The countess invited the poet to recite a rhapsody by Homer and three passages from the Odyssey in his own translation.</p> Mirosława Radowska-Lisak Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 147 158 10.18290/sn2240.8 Bearded man in antique-style robes – an unknown drawing by Norwid <p>The article presents a formerly unknown drawing by Norwid, titled “Bearded man in antique-style robes,” originally made in Rome in 1847 and recently sold by the Desa-Unicum art auction house. The drawing is representative of the style developed by Norwid in the second half of the 1840s.</p> Edyta Chlebowska Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 159 168 10.18290/sn2240.9 Norwid in the memory of Wielkopolska residents.Maria nee Łubieńska and Franciszek Chłapowski – the former owners of Album berliński [The berlin album] and Modlitewnik dla Włodzimierza Łubieńskiego [A prayer book for Włodzimierz Łubieński] <p>This article follows the history of a few Norwid mementos connected with Wielkopolska, shows the role of Włodzimierz Łubieński’s sisters as well as Maria and Franciszek Chłapowskis in saving them and passing to the next generations. It reminds an important speech given by Doctor Chłapowski at the Poznań Society of Friends of Learning in 1904. It presents all (published in fragments to date) Chłapowski’s letters to Przesmycki, devoted, among others, to Norwid query at the beginning of the 20th century. It points to Chłapowski’s valuable opinion about Norwid’s relation to Maria Kalergis.</p> Elżbieta Lijewska Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 169 189 10.18290/sn2240.10 Norwid and the Potocki family from Wilanów <p>Wilanów is an important place on Norwid’s biographical and intellectual map, not only due to the cultivation of memory of his great “ancestor” John III Sobieski, but also because he learned to paint at the Warsaw studio of Aleksander Kokular, who was associated with Wilanów. Norwid maintained close contacts with the closest family of Wilanów’s owner, Count Aleksander Potocki: his second wife Countess Izabella nee Mostowska, primo voto Potocka, secondo voto Starzyńska, and her son Stanisław Potocki, grandson of Stanisław Kostka Potocki. Norwid even enjoyed the protection of Countess Starzyńska and would often meet in Paris with her son, an art collector, as well as exchange letters with him, mainly on the subject of art. Perhaps they visited together Hôtel Drouot, an art auction house in Paris.</p> Renata Gadamska-Serafin Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 191 203 10.18290/sn2240.11 Further comments regarding the presence of Immaculate Conception in works by Norwid <p>The article joins the discussion on the question whether Cyprian Norwid properly understood the dogma of immaculate conception.</p> Stefan Sawicki Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 205 208 10.18290/sn2240.12 Norwid’s dramatic works in new costume <p>The article is an academic review of the multi-author monograph Dramaty Cypriana Norwida. Teksty – konteksty – interteksty [Cyprian Norwid’s dramatic works: texts, contexts and intertexts] edited by Wiesław Rzońca and Karol Samsel (Warszawa: Wydawnictwo Wydziału Polonistyki, 2019). It surveys and examines studies contained in the volume, placing them in the context of current state of research on Norwid’s dramatic works. The review argues that the chief merit of the discussed book consists primarily in presenting new interpretations of Norwid’s dramas, which account for fresh contexts and represent a variety of research angles, including philology, textology and scientific editing, studies of theatre, aesthetics, anthropology as well as cultural and comparative studies. The volume also reconsiders the place of Norwid’s dramatic works in literary history, most chapters foregrounding the strong relationship this author had with the literature and culture of pre-modernism and modernism. Owing to this, the review also addresses the meaning of the Romantic drama tradition for Norwid’s specific artistic position as a dramatist.</p> Agnieszka Ziołowicz Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 209 222 10.18290/sn2240.13 For Professor Mieczysław Inglot: On the Presentation of Order of Merit for Popularization of Cyprian Norwid’s Work Piotr Chlebowski Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 223 229 10.18290/sn2240.14 To Tomas Venclova: On the Presentation of Order of Merit for Popularization of Cyprian Norwid’s Work Józef Franciszek Fert Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 231 240 10.18290/sn2240.15 Index of names Łukasz Niewczas Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 241 252 Index of titles Norwid’s works Łukasz Niewczas Copyright (c) 2022 Studia Norwidiana 2022-09-13 2022-09-13 40 253 257