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Reprint of the original, first published in 1841.
Reprint of the original, first published in 1841.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1841 edition. Excerpt: ... INTRODUCTION. A Hundred years had gone by since the knights of the Cross waded in the gore of the Northern Pagans. The Prussian had already bent his neck to their iron yoke; or, abandoning his home, was trying to escape with his life, whilst the German was pursuing the fugitive, with fire and sword, to the borders of Lithuania. The Niemen separated the Lithuanian from his foes. On one side glittered the pinnacles of temples, and the winds roared through the forests--the dwellings of the gods; on the opposite bank peered on a hill a cross, the sign of the Germans, which, with its head touching the clouds, stretched its arms towards Lithuania, as if to embrace all Palemon's inheritance. On the one side, crowds of Lithuanian youths, clothed with the skins of bears and lynxes, the bow in one hand, and a ready arrow in the other, appeared from time to time watching the move A ments of the Teutons. On the other side, stood a statue-like German on horseback, in armour and helmet; fixing his eyes on the group of his foes, he charged his gun and counted his rosary. Both alike were guarding the passage. Thus the once hospitable river that watered the fields of two brotherly nations, was now for them the threshold to eternity; and none could, without loss of life or liberty, cross the forbidden waters. A branch of Lithuanian hop, allured by the charms of a Prussian poplar, creeping on willows and aqueous plants, alone extended its arms boldly as before, and, crossing the river in a charming festoon, went to unite itself to its lover on hostile ground; and the nightingales of Kovno's bowers held converse in Lithuanian, as of old, with their Prussian brothers; or, rising on independent wing, went on a visit to their playmates. And what of men? wars...
An illuminating new study of modern Polish verse in performance, offering a major reassessment of the roles of poets and poetry in twentieth-century Polish culture. What’s in a voice? Why record oneself reading a poem that also exists on paper? In recent decades, scholars have sought to answer these questions, giving due credit to the art of poetry performance in the anglophone world. Now Aleksandra Kremer trains a sharp ear on modern Polish poetry, assessing the rising importance of authorial sound recordings during the tumultuous twentieth century in Eastern Europe. Kremer traces the adoption by key Polish poets of performance practices intimately tied to new media. In Polish hands, tape recording became something different from what it had been in the West, shaped by its distinctive origins behind the Iron Curtain. The Sound of Modern Polish Poetry reconstructs the historical conditions, audio technologies, and personal motivations that informed poetic performances by such luminaries as Czesław Miłosz, Wisława Szymborska, Aleksander Wat, Zbigniew Herbert, Miron Białoszewski, Anna Swir, and Tadeusz Różewicz. Through performances both public and private, prepared and improvised, professional and amateur, these poets tested the possibilities of the physical voice and introduced new poetic practices, reading styles, and genres to the Polish literary scene. Recording became, for these artists, a means of announcing their ambiguous place between worlds. Kremer’s is a work of criticism as well as recovery, deploying speech-analysis software to shed light on forgotten audio experiments—from poetic “sound postcards,” to unusual home performances, to the final testaments of writer-performers. Collectively, their voices reveal new aesthetics of poetry reading and novel concepts of the poetic self.