Konstanty Ildefons Gałczyński
The poet was born in Warsaw in 1905 year, where he also studied at the University of Warsaw. He debuted in the press in 1923 year – In the years of the debut, he was associated with the poetic group of a square. In the interwar period he published a lot, He collaborated with numerous editorial offices, He also worked at the Polish consulate in Berlin, He became involved with the nationalist weekly straight from the bridge. He fought in the September campaign, do 1945 he remained interned in a German prisoner of war.
W 1946 year, the writer returned to the country, He lived in Krakow successively, Szczecin, Warsaw, Anin. Died in 1953 year. Gałczyński debuted the grotesque, Fantastic novel Porfirion Osiełek, So the Świętokradców Club (1929), Even before the war, he announced poetic works. After the war, he published, among others, the following volumes: Poems (1946), Enchanted carriage (1948), Wedding wedding rings (1949), Niobe poems (1951) and Wit Stwosz (1952).
In the interwar period, Gałczyński proved himself as a very versatile poet. He wrote subtle lyrics, satires and parodies, He created poetic miniatures, He also undertook numerous creative experiments. It is from this period that the famous Skumbrie in Tomat comes from, where the content, which cannot be translated into a discursive language, reach readers due to the rhythm itself.
The most beautiful, Gałczyński's best poems from the interwar period were devoted to simple matters, everyday, feelings well known to every person. Natalia often appears in these songs (with Natalia Awałow, The lyrical heroine of most of his poems, Erotics Gałczyński married to 1930 year), the poet's wives, which is unchanged very warmly, with great love – Like the poet's daughter, Kira. Daily joys and sorrows can be obscured in these poems as if the fog of mystery, somewhat surprised, Prosaic reality becomes an exotic land due to this procedure. A beautiful example of this tendency is even a fragle about our farm.
O, Green Konstanty, o, srebrn Natalio!
All your supper a jug with lily of the lily of the age;
Around the jug walks with the halberd,
gray beard, but well -stained with mustard,
can be seen, he ate, and you have fantasy and fans
o, Natalio Zielona, o, silver Konstanty!
Before the war, Gałczyński was distant from all radical social currents, from a decisive criticism of that society. It certainly wasn't a poetry of rebellion, opposition to the surrounding world. The lyrical subject of the then poems of Gałczyński lived in a way next to society, He ignored the mechanisms of collective life, recognized value systems, He accepted the Pochy of the Gypsy and the Decadent. He felt good as a cheerful (stylized on a character from plebeian literature from many centuries ago), which only requires tolerance from others for its existence, and guilds (also positive) attributed to the middle class they are indifferent to him, even deeply foreign. The poet was fascinated by the world of folk games, suburbs, fairs, popular popular culture, which is a denial of intellectual eliteness. Adopted a attitude of distrust of all manifestations of the hypocritical world of politics, great ideals. Only poetry was true, You could find shelter in it. It is a specifically perceived petty bourgeoisie, Lumpenproletariat survived – According to the poet – authenticity, Intelligence was opportunistic, hypocritical. Sometimes very sharp intelligence assessments, This social group was devoted to many satirical poems by the author of the intelligent, appeared systematically in Gałczyński's writing, Also after the war.
A reluctance to theoretical constructions, She returned from reality in all Gałczyński's work – also post -war. The answer to the words of ideologists, Dogmatians were a choice of a stray road for the poet in the green world. In the kingdom of poets and charlatans. Gałczyński, practicing various poetry models, During the war he also wrote several patriotic works, nostalgic, which was widely known, read. An example would be a loud song about soldiers from Westerplatte.
In the post -war years, Gałczyński's writing was definitely closer to everyday life, The poet as if on an ongoing basis commented on the reality that surrounds him, He was a sharp critic of her. He created grotesque shots, whose green goose theater has become a great example: lyrical and comical, satirical and didactic, grotesque, Initially outraged many readers, surprised by the right Gałczyński, seeing reality. Vision not within socialist realism – Hence the numerous attacks on the poet, np. from Adam Ważyk. At last, in the 1950s, Gałczyński underwent cultural policy pressure, He wrote a lot of songs corresponding to the then engaged poetry model – These are texts with incomparably smaller values than the writer's earlier achievements.
Gałczyński never treated his work as a mission, He wanted him to be considered a great craftsman, which even from extremely exploited by generations of lyrics can build a good poem. This poetry grew out of reality, but she was approaching sighting, Sleepy Majaki, Games of associations testifying to the huge imagination of the poet. K. And. Gałczyński, Only initially modeled on the poets of the Skamander group, created the original, own model of the lyrics, which perfectly harmonized with the image of the poet built by the writer–Cygana. It was a poet both directly referring to reality, mocking her, like a grotesque, absurd joke, as well as creating lyrics depicting simple emotions, mood, family life, from which he again easily went to the grotesque, mockery, fantastic shots. He wrote beautiful erotics, in which we will not even find a trace of his skeptical-ironic tone, distrust of the world. Such a poem is, for example, a request for the islands of happy:
And you take me to the islands happy,
Winds with gentle hair like flowers., kiss,
You balance me and put me to sleep, SNEM MUZYKALNYM ZASYP, dullness,
In a dream on the islands of happy, do not awaken sleep.
Respects tradition, Great -sensing readers' expectations, referring to known, Understandable motifs and lyrical props of Gałczyński's poetry for years enjoyed great popularity, Also among people, who, as a rule, did not reach for any volumes of poems. Gałczyński proposed his own, Individual lyric pattern, also a suggestive creation of the poet-cigan.