Axiology of Cyprian Kamil Norwid's theater in the drama "Big Lady's Ring"

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Axiology of Cyprian Kamil Norwid's theater in the drama "Big Lady's Ring"

Oksana Prawylowa

Oksana Pravylova. The theatre's axiology of Cyprian Kamil Norwid in the drama «The Ring of Great-Lady». The purpose of the article is to analyze the conceptual expression of the axiological content of the drama „The Ring of the Great - Lady” by the Polish writer C.-K. Norwid. The philological and hermeneutic method detailed the theoretical knowledge of the C.-K. Norwid's theater specificity on the example of the „white tragedy” in the drama „The Ring of the Great-Lady”. The genealogical, dramatic structure, expressing theatrical subjects are investigated. the conflict of salon stigma, the concept of a living woman, the problems of the artist and poetry, the parabolicity of the work and the design of the monologue are considered. Illustrated features of „true” drama in the understanding of the writer. C.-K. Norwid's drama did not only prove the valence of social life, but also perfectly reflects the hesitation of society by using the another method - method of the game. In Norwid's work can be clearly traced two values of the mask's concept: the traditional, when a mask is a tool to characterize the hero, his hidden intentions and intentions of action; and conditional, when hero needs a mask to conceal his own thoughts, intentions, to feel himself like „normal”, „like all”.

Key words: axiology, value, drama of „life”, „Ring of the Great-Lady”, true, theater, mask's concept.

drama norvid axiological

Оксана Правилова. Аксіологія театру Ципріяна Каміла Норвіда в драмі «Перстень Великої-Дами». Досліджено концептуальне вираження аксіологічного наповнення драми «Перстень Великої -Дами» польського письменника Ц.-К. Норвіда. Філологічним і герменевтичним методом деталізовано теоретичну ознайомленість специфіки театру Норвіда на прикладі «білої трагедії». Досліджено генеалогічну, драматичну структуру, які виражають театральну тематику. Розглянуто конфлікт салонного стигмату, поняття живої жінки, проблематика митця і поезії, параболічність твору і конструкцію монологу. Висвітлено риси «правдивої» драми у розумінні письменника.

Ключові слова: аксіологія, цінність, драма «життя», «Перстень Великої - Дами», правда, театр, концепт маски.

"Theater, as far as we know, There is an atrium of heavenly things - that's why we call it so" [1, c. 8]. This is the famous postulate of Norwid, where the poet, in a way common to himself and original for others, defined theater as a place of embodiment of the highest values. Norwid's theoretical considerations develop in numerous writings, notes, and short mentions from various works. The poet is following the path, a denial of the prevailing orientations towards the ancient drama or the pattern of the "praised Mickiewicz" to the creation of the "new". The evolution of the poet's dramatic thought culminated in the work "Big Lady's Ring", in which he tried to reveal the main goals of contemporary art. "Giving theater such an important meaning testifies to the fact that the poet assigned to the art of theater tasks identical to those which, according to him, art was supposed to fulfill in relation to a society in which" essential values were replaced with apparent values"[1, c. 12]. Norwid deals with similar topics in his earlier dramas. The "Tyrta - Behind the Scenes" dptych contains the problem of norwid's inability to purify society in a cathartic way, the inability of every person to break out of fictional influences, from imaginary patterns of behavior. «КІашяґ ^ art та betray, that is, revealC кІатяі ^ гусіа», - a quote from one of norwid's poems fits perfectly with that produced by агіуяі? a new comedy genre, орія kt6rego итіе ^ сії we <^ яі? ріе »to the drama« РіегЗсіеп of the Great-Lady ».

1. Norwid applied to theater the demarcation of па ethical bird, ie odг6гnmt іо, со is authentic, and this со is "theatrical". The writer himself ЬуІ ргеекопапу, ге in art тші Ьус reflected геаііа і the truthfulness of the social gender. In creating art, тіаІ тогІшоЗс perfectly shows the ambiguity of events, attitudes and human speech. The use of the method of silence works well for a theatrical performance. Norwid's drama ПІЄ only m6gt testify о ЬшаІепіпоЗсі гусіа social, аіе і unequivocally show hesitations in the game.

2. In his reflections о Teatr Norwid ЗсШе окгеЗШ гої? masks in art and beyond пщ. From this it raises two understandings of the mask method.

3. 1. Traditional, unambiguous иі? Сіе - the mask is паге ^ іет for the embodiment of the hero's features, his іпіепср і waгunk6w progress? Powaп.

4. 2. Accidental, ambiguous иі? Сіе - the hero needs a mask, геЬу икгус wtasne іпіепсіе, аІЬо to feel himself in a "normal" society, "one іг Нити" for his own safety.

The given understanding of Noгwid's art leads to ту ^ Іі, that the writer resigns from the dгamatic Гікср і якиріа яі? па disclosure of the real геїасіі between? Мгті. Amazing Л? С Noгwida revealing the truth, searching for яі? chwiejnych іеі gгanic - dictates пая1? рпе results: гусіе іо great іеаіг, where unmasking a human being іеяі a great effort.

In «РіегЗсіепіи Grand-Lady», the protagonist Durejko plays against Szelig ^ an expert? ііегаіигу і arts, Szeliga plays in front of Mak-Yks І Duгejk podг6гnika, Магіа і Magdalena gгaj ^ pгzed яоЬ ^ when яіаіу яі? гywalkami to Szeliga, gгaj ^ pгzed яоЬ ^, each other all guests па eternal dreaming. A typical psychological геаксіа игусіа convention will bring about the realization of fatsha, аІЬо іеріеі to say, - usual} ^ wedtug Noгwida, the ambiguity of a universal question. Hamlet's inner? Tгzna гozteгka pгzed Ьоіаіпщ making a decision Іеяі for Noгwida not usable in reality, in когеі wearing таяек Іеяі something obligatory.

Stawoшiг ^ іопек І ^ у іеаігаїпз, Ј шадошо Ј С of the writer from the news, for whom the basic categories of moral and ethical beliefs of роеіu, that is, knowledge about the gods of the highest law, God. Шо ^ ашіепіе dramaturgy from dram ^ гусіа publishes яі? too logical. However, піе all кгуіусу literature рггу ^ у ^ з. яі? to шу ^ іі, ге without гадпуЛ w ^ doubts шогпа put a sign of г6wnosci poшi? dzy її ^ оїї ^, гzrealness norwid а his children draшatyk. Chodziarz Stefan Sawicki аргоЬціе ЛгееЗсуашк ^ axiology? ШтШа, notes: «Why parabolizaqja events and forms Меі шіаІуЬу Ьус draшaturgicznyшi konsqjaшi draшatycznej ^^ ошо ^ сі ШтМа?» [3, c. 45]. Dtugo looking for ЬуІо ІгееЬа, answer found яі? in the introduction:

«Бат па§іе great Зетів - zast% pцje їй їв sensitive тотвпїу, кїотв Tragedy та тоїпокс кшїц, charm expressive і czвrwonq. Behind such nastrojвniвm ^ ів, їв іszystkiв ciвniowania niвsfychaniв Ьус trudq зиЬїеїпіе »[1, а 6].

The attention of роеіу is concentrated па іуш, со is usual, and everydayш in rozшowach among people. Big <^ ЄГЮ »шогпа rozuшieC as reality, кша not necessarily ші issuing яі? rozozuшiat ^ і light ^. In koљedia high япищ яі? non-decision feelings, excited. Dгaшat comes from the level of the poles of feelings to the fan of balanced ргеегус. Nogwid's "tiemowame" only strengthens his views, exhausting the resources of ші ^ епіа, ратЬоІ ^ аф, able to bring you closer? to wyгaгama catej pгawda about social геіаср:

"The social core, looking at it, is the second one, tearing it down in jvj smiwsznosciach including the civilization-whole-social-social, the quality of the overall summing up, views па siq» [1, ^ 6].

Selected by Noгwida сеі (waiting to яишіепіа the whole community) ішріікціе пая1? Рпе руїапіе: what waгtosci ишіе ^ сії роеіа in иіа ^ гешеге кг wpге роегеіа in иіа ^ геше кгеге кгегеі Your ^ іеогі? Noгwid ишіе ^ сії in іїакіасіе "Promethidion", concretization] Є] т is visible in the puzzle "РіегЗсіеп of the Great Lady". Events of dhashat today ^ яі? in шaj ^ tku НгаЬіпу Магіі Наггуя, however pгawbywyш his tascicieleш is a local judge Duгєjko. His conduct detects the behavior of the impoverished aguzhokgasr. W pieгszyш akсіе to the inhabitants of раІаси, wsг6d кІогуЛ, opг6cz НгаЬіпу, her poviatwoman Magdalena Тошіг і s? Dzego, present far

Мак ^ кяа, рге ^ е ^ а ро dlugiej ре ^ гупаср, Graf Szeliga. The judge informs about the planned Ьаіи for the charges of the establishment, когуті оріекіуе яі? НгаЬіпа. Szeliga і Mak-Yks talk ^ о own ргеекопапіа ^ odob likes (birds І astronomy), but suddenly Szeliga notices that his associate is looking at яі? in окпо: «Oп! Not ptaszk6w waiting ... Pow6z Магіі ... her коїогу ... »[1, с. 50]. W паяі? Рпут аксіе Szeliga оЬсиіе with Магщ і Magdalen ^ The heroes г6 at the same time explain ^ the relations between яоЬ ^.

Яі appears? Мак ^ кя, but by chance it is рокаї ^ се stowa Магіі, kt6гa па Magdalena's question «Mogtabys иЬіегас яі? ргеу people? »replies« То - піе people - give me, please? Mak-Yks feels оЬгаг? «What was it? out of his mouth ^ / B? d ^ c stronger піг m6wca ». In the last, third month, яі takes place? scheduled Ьаї. Мак- Yks in the pocket та гewolweг і in the monologue гоЬі aluzj? па pгzyszte samob6jcze рїапу, however, паскопі роскопі уоu with food from the festive yakya, pushes them away. Between іппуті zdaгza яі? surprise: in Ігаксіе gгy died ^} ріегЗсіеп НгаЬіпу, judge calls роїісі ?, кіога suspect Mak-Yksa, роп ^ аг піе Лсіа1 surrender яі? checking. №ктші ріегЗсіеп by accident was found. Sophisticated conversations агуяккаср Ьгетщ absurdly. «Могпа pointed out, ге аЬяи ^ аїпоЗс яукаср, broached by Nogwid, expelled his time. АЬяш ^ аїпоЗс яіаіа яі? кгуіукз, social anachronism ... »[4, с. 140].

In the sequence of the importance of Nogwid, we discuss in detail all the problematic children, which are interfered with in the cheers of the heroes and in some monologues, and in a series of diggings. Ігепа Stawmska іак оке ^ Ша tгzy к ^ і problematic in the piece:

1. «Related to the language of dгamat6w contemporary тка, includes копйопіасі? sгodowisks and above піті. The language is organized іак, Ьу unmasking, Ьу revealing 1о, со in these places already maгtwe. Роеіа тші done it in ярояоЬ possibly па ^ а ^ іе] economic, pгzez яіагапп ^ яеїекуе stowa, кіоге г6 simultaneously реІпі pгzecieг гог ^ е епе Шпе епе. 24].

Appearance in the song three ^ іаіу. Two of them are compiled (яаїопи, bourgeoisie), the dgamatic copay, where the gt6wnym Individualization is the highlight of коткти піе, but іурка ^ а hero6w. Representatives of such types in «Ріегесіепіи ...» s ^ НгаЬіпа ИаггуБ і Durejkos.

2. икагапіе «civilization wholeness and social» serves for presentaqji views of norwid's art, often of the same environmental type. «Noгwid is concerned with giving objective truths with regard to art» [5, с. 25].

3. Concerning the relationship between norwid's expanded speech and the theatrical vision, i.e. the relationship between words and means of extra-verbal expression. come ^ medom6wiema, concealment of the language of the writer's drama [5, с. 25].

2еЬу find the features listed in «Ріегесіепіи», look for them in the above-outlined кг ^ аск confrontaqji bohateг6w, и] атопіеша truth and language specificity, kt6ra тші рокагас ^ prawd ?. Віощс under consideration ге high, that is foot ^ dna liteгatuгa піе та podzmlu па czamych / bmlych, dobгych / bad heroг6w - above the task піе is easy. Ко ^ пут сеіет research Ь ^ іе searching in chaгakteгach os6b г «Ріег ^ сіепіа» геаіігаср general human qualities.

Іппут is a proof of the fact that Noгwid & шадотіе applied their axiological assumptions to dagamata, which serves the cognitive consideration of the theoretical elements of theatrical art. This is what Tomasz Milkowski is confident. The researcher оріпі $ Noгwida па contemporary ^, рггу] фз is honestly done. teoгi ^ theater. Milkowski is astonished by the wealth of the terms used by Nogwid, which are used to establish the profession of an actor. Noгwid, the most important way, shows the care of a specific translator of the genre of his works, it testifies to the thorough preparation of the work and his wife for staging: it replaces the actual relations ті ^ у Мгті, where the individual is doomed to па loneliness and destruction. Therefore, most of the dagamatic works are autothematic texts, the main constructive method of which is the opposition of two models: & ша (; а teatгu і & ша (; а as theater. Вуїу і; Ша Юпе reasons for which па аГ ^ и піе powюdly sІQ »[6, с. 128].

«Ріег ^ сіеп of the Great-Lady» occupies a special т ^ се in the style of ШтШа ті ^ у іппут because in the introduction of the piece итіе ^ сії оп wlasn ^ teoгi ^ dгamatu, the piece itself ^ тго dramatic genre, «па naming кіо ^ о піе тату Polish wygazu (Ьо гzeczy still піе та). The novelty of the work consists in the fact that this genre шшіаІ poљagaC for the «репоёи оЬе ^ епіа-віе- community community, і from its most extravagant plateau, social network, и-^ civil society, in which of conscience as a phrase, a review to reflect on the destiny and the value of the sacred from the apparent.

С ^ іаІ, therefore, Norwid икагас representatives of social classes in realistic situations, that is, a few examples of the behavior of their characters, and at the same time ЛсіаІ characters and situations give g}? Better sense, yes аЬу «Ј шаІ; presented to the drama шіаІ a shodel character for contemporary society, а at the same time Ьу become? шetaphor ^, the synthesis of human fate in community inauthentic і zaktaшanej »[7, с. 227].

The realism of "atej tragedy" really?

Considering па, that piece6r contains some values, шогпа z tatwoscщ окте ^ Нс them as рошос ^ as wide as possible к ^ уТікаер, proposed рггег С. КІискИоИпа. Так, па for example, «РіегЗсіеп Great Lady» гер ^ еп ^ е коїе ^ е values:

1. positive, Лосіаг disclosure of them is given by the faults of heroes;

2. moral-aesthetic (the recipient sees роиЬаІоЗс і appearances of the living room, behavior і рі ^ кпо s ^ under the influence of піе еБІ; е1укі, а convention);

The next values given in the classification are difficult to establish. То means that ге гусіе та your ^ иІу behavior and apart from mixing гогпу ^ kinds of axiological units, геаііа are ^ too complex, геЬу пактеЗІіс Ііпі ^ Podzmtu уі ^ у truth ^ а. If the «РіегЗсіеп of the Great-Lady» шіаІ Ьус «insults of society», they should occupy a special place in the figure. Therefore, the description of the procedure, careful research hero6w draшatu и] атопш] з. піе too precise values. Mak-Yks was thrashing? autothetic axiology, he tries to піе come руппо ^ сщ matter, which is сеіеш for Durejka. Natoшiast Durєjko, Лосіаг tells about his education and ргоЬиіе impress the living room man, и] атопіа ге values are for him іш ^ ишеп; еш for the achievement of his own aj ^ tku. К ^ ко ш6wщc, eternal values, in classical understanding, s ^ instrumentalшi for Durejka і his гопу, а own business, ріепі ^ е - аиМеІісгпе.

In general, thematic values have practically all characters. They are very much related to convention, they determine and support it. In terms of intensity, Polish literature most often uses hypothetical values, both utopian and traditional. Norwid's work is no exception. In the drama, one can read the conflict between the idealized truth of Mak-Yks and the actions in the mask of other characters.

The problem of women and their role in society was extremely important to Norwid, on the other hand, the poet claims that real female characters do not exist in beautiful Polish literature. One of the purposes of the "Ring of the Great Lady" is stato si? filling an existing gap. In addition to the most often discussed, in the subject literature, the titular Countess, there appear in the work? yet she is the rebellious Salome, wife of the judge Clementine, "confidential" of Maria - Magdalena. The first time with Countess, Harrys and Magdalen, Tomir reveal the value of beauty. Salome as a worried mother for your baby. Magdalena brings the dimension of pure harmony that appears? in conversations with Szelig ^. The countess first reveals aesthetic and visible values, she wants to be understood in the eyes of the community as the pinnacle of myth-mercy and beauty. With the course of events, the situation with the ring shows us a different type of beauty, in which the advantage is the love of the closest or the hurt. Although so far the behavior of the heroine is unclear, it leaves a biata. stains? on its idealization. Integrated values, that is, those that show us a whole range of possible axiological readings, are placed in separate chapters of the work devoted to selected figures.

The attempt to explain the axiological system of the work presented in these considerations is only a proposal. confuse man's psychological meanders and reveal the conflict of evaluating life.

1. Norwid С. K. Pierscien Wilkiej-Damy / red. S. Swiontek. Wroctaw: Zaktad Narodowy Imienia Ossolinskich, 1989. 8, 12 s.

2. Braun K. Niektore aspekty teatralnosci Norwida // Miesi?cznik literacki. Warszawa: 1970. nr1. 50-56, 51 s.

3. Sawicki S. C. Norwid, Promethidion / Stefan Sawicki // Pami?tnik Literacki z3. Wroctaw: PAN, 1975. 45 s.

4. Tatarkiewicz W. Historia filozofii, t. III. / Wtadystaw Tatarkiewicz. Warszawa: PWN, 1997. 140 s.

5. Slawinska I. O j^zyku Komedii Norwida/ Irena Slawinska // Studia Norwidiana. Lublin: KUL, 2007. 24 s.

6. Milkowski T. Teatr Norwida. Torun: CRADO, 2013. 128 s.

7. Swionek S. Biala tragedia Norwida // Z polskich studiow slawistycznych. Warszawa: PWN, 1972. 227 s.

References

1. Norwid C. K. Piershchien vielkiej Damy [The Ring of Great-Lady]. Wroclaw, 1989. (in Polish).

2. Braun K. Niekture aspekty teatralnoshchi [Some aspects of Norwid's theatricality]. In: Miesienchnik literacki issue 1. Warszawa, 1970, pp. 50-56, 51. (in Polish).

3. Sawicki S. C. Norwid, Promethidion [C. Norwid, Promethidion]. In: Pamientnik Literacki issue 3. Wroclaw, 1975, 45 p. (in Polish).

4. Tatarkewich W. Historia filozofii, t. III [The history of philosophy]. Warszawa, 1997, 140 p. (in Polish).

5. Slawinska I. O jenzyku Komedii Norwida [About the Norwid's language]. In: Studia Norwidiana. Lublin, 2007, 24 p. (in Polish).

6. Milkowski T. Teatr Norwida [The Norwid's theatre]. Torun, 2013, pp. 128. (in Polish).

7. Swionek S. Biala tragedia Norwida [The Norwid's white tragedy]. In: Zpolskich studiuw slawistychnych. Warszawa, 1972, 227 p. (in Polish).

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