Through the Ear to the Heart: On Musicality of Stanisław Barańczak’s Piosenki nie śpiewane Żonie
DOI:
https://doi.org/10.31261/SSP.2024.23.04Keywords:
Stanisław Barańczak, 20th-century Polish poetry, musicality in literature, intermedialityAbstract
The article provides an interdisciplinary analysis of a part Piosenki nie śpiewane Żonie, included in the collection Chirurgiczna precyzja: elegie i piosenki z lat 1995–1997 by Stanisław Barańczak. The author focuses on the aspect of musicality in the poems, especially in the context of so-called latent musicality, which
manifests in these poems through the transposition of musical genres and forms into the realm of literature. Based on Andrzej Hejmej’s categorization of musicality, the author distinguishes intermedial phenomena; she examines the poems separately and in the perspective of the part of the collection identified by Barańczak, often marginalized, which is a love confession to his wife. Through a formal analysis of the structure of musical genres – both classical and popular (madrigal, aria, blues, alba, serenade) – to which the poet referred to in the titles of his poems, the author uncovers new interpretative clues hidden in the construction of the poems. Her analysis confirms the critics’ opinion on Stanisław Barańczak’s masterful poetic craftsmanship and virtuosity in handling the form of the text.
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