The author of the article aims to add his voice to the debate on the tangled historical and literary origin of Cyprian Norwid and methods of legitimising it: the romantic and modernist. Although the text is clearly seeking a new language to talk about Norwid’s association with the subsequent modernist era, the ultimate conclusion is the Polish poet should be placed in the contaminated trend. Also suggested is a need for a study of his literary works that would provide a double model of the ninet…
Read moreThe author of the article aims to add his voice to the debate on the tangled historical and literary origin of Cyprian Norwid and methods of legitimising it: the romantic and modernist. Although the text is clearly seeking a new language to talk about Norwid’s association with the subsequent modernist era, the ultimate conclusion is the Polish poet should be placed in the contaminated trend. Also suggested is a need for a study of his literary works that would provide a double model of the nineteenth background of Norwid’s text: as romantic, and at the same time modernist. As a symbol of Norwid’s modernity’s the author chooses London’s Crystal Palace, a place that Norwid visited between 3 and 13 December 1852.
