It is not the intent of the
compiler
and editor of
this work to go into a diffuse history of Polish litera-
ture; his resources being rather limited, he must do
as best he can.
this work to go into a diffuse history of Polish litera-
ture; his resources being rather limited, he must do
as best he can.
Poland - 1881 - Poets and Poetry of Poland
Deotyma.
13. Goszczyn? ski.
14. Pol.
15. Kondratowicz.
16. Kraszewski.
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? POLISH ACCENTED LETTERS.
Besides the common alphabet, the Poles have the
following accented letters -- and as they may occa-
sionally occur in this work, it is deemed proper to
explain their sounds and pronunciation as far as it was
possible so to clo.
c| (nasal), has the sound of the French on as in son,
pardon, etc.
C, is pronounced tsie.
C (nasal), has the sound like the French un, as in
chacun, or like in as in main.
? J 1, very nearly as the English I, as in log, long, etc.
EL, is pronounced like the English n in need, or in
French, gagne.
O, is pronounced like the English oo.
S, like the English s, followed by e, as in sea, seize.
Z? , like the English z, in Zealand.
Z? , is pronounced like French g or j, as in genou,
jambe, jardin.
j, is always pronounced like y.
i, like ee.
w, like English v.
u, like oo
cz, like the English ch, as in child, chip, etc.
sz, like sh, as in shall, shield, etc.
rz, very like the French j, as in jardin.
szcz, like stch.
ch, very nearly like h, or like the German ch, as in
machen. brechen, etc.
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? PRONUNCIATION OF POETS' NAMES.
BALIN? SKI, -
BERWIN? SKI, -
BRODZIN? SKI, -
BOGUS? AWSKI,
DRUZ? BACKA, -
DMUCHOWSKI,
DEOTYMA,
FELIN? SKI, -
GAWIN? SKI,
GARCZYN? SKI,
GASZYN? SKI,
GO? RECKI,
gos? awski, -
goszczyn? ski,
ho? owin? ski, -
jachowicz, -
jakubowski, -
jasko wski, -
karpin? ski,
klonowicz;
TRONOUNCE
Bah-lin-skee.
Ber-vin-skee.
Bro-dzin-skee.
- Bo-GOO-SLAV-SKEE.
Droosh-batz-kah.
- Dmoo-hov-skee.
Deo-te-ma.
Feh-lin-skee.
Gah-vin-skee.
- Gar-tschyn-skee,
Gah-shin-skee.
- Go-retz-kee.
gos-lav-skee.
- gosh-tchin-skee.
holo-vin-skee.
- Yah-ho-vitch.
Ya-koo-bov-skee.
- Yas-kov-skee.
Kar-pin-skee.
Klo-no-yitch
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? PRONUNCIATION OF POETS NAMES.
KOCHANOWSKI,
KNIAZN? IN, -
KONARSKI,
KONDRATOWICZ,
KORSAK (RAY),
KORSAK (JUL),
KORZENIOWSKI,
KRASICKI, -
KRASIN? SKI,
KRASZEWSKI,
KRO PIN? SKI,
LENARTOWICZ,
MALCZEWSKI, -
MIASKOWSKI,
MINASOWICZ, -
MICKIEWICZ,
MORAWSKI,
NARUSZEWICZ,
NIEMCEWICZ, -
ODYNIEC,
OLIZAROWSKI, -
OSIN? SKI,
POL, -
REY,
SARBIEWSKI, -
PRONOUNCE
Ko-HA-NOV-SKEE.
- KlN-AZ-NIN.
Ko-NAR-SKEE.
- KoN-DRAH-TOVITCH.
KOR-SAK.
- Kor- sak.
kor-zhen-ov-skee.
- Krah-sitz-kee.
Krah-sin-skee.
- Krah-shev-skee.
Kro-pin-skee.
- Leh-nar-to-vitch.
Mal-tchev-skee.
- MlAS-KOV-SKEE.
Me-nah-so-vitcu.
- MlTZ-KEH-VITCH.
Mo-RAV-SKEE.
- Na-rush-eh-vitch.
NlEM-TZE-VITCH
- O-DEE-NETZ.
O- LEE- ZAH-ROV-SKEE.
- O-SEEN-SKEE.
POHL.
- Rey.
Sar-biev-skee.
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? PRONUNCIATION OF POETS NAMES.
SIENKIEWICZ,
S? OWACKI,
SZYMONOWICZ,
TREMBECKI,
UJEJSKI,
WASILEWSKI, -
WENGIERSKI,
WITWICKI,
WORONICZ, -
WYBICKI, -
ZALESKI,
ZAN, -
ZIMOROWICZ,
ZMIECHOWSKA,
ZMORSKI,
PRONOUNCE
- Sein-keh-vitch.
Slo-vatz-kee.
- She-mo-no-vitch.
Trem-betz-kee.
- ooy-ey-skee.
Yah-see-lehv-skee.
- Yen-gher-skee.
YlT-VITZ-KEE.
- Yo? -RO-NITCH.
Ye-bitz-kee.
- Zah-les-kee.
Zahn.
- Ze-mo-ro-vitch.
Zmee-hov-skah.
- Zmor-skee.
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? INTRODUCTION.
It has been said that the most interesting phenome-
non in the history of a people is the rise and progress
of its literature. As in an individual man, so it is
likewise in a nation, life manifests itself in a twofold
manner: in action and in word. A wise man of an-
tiquity once said to an individual unknown to him:
" Speak, that I may know you. " Thus we can address
ourselves to every civilized people -- "show us your
literature, that we may judge of the actual state of your
civilization, your character and your general qualifi-
cations. "
11
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? 12 POETS AND POETRY OF POLAND.
It is not enough that a nation has a literature of
its own, and that she sets it in sight of the progression
of humanity. It is not enough that she has actors
appearing on the scene of learning and knowledge;
a nation which has a desire to live and to advance with
proper dignity to her destiny must also have specta-
tors, hearers and learners in the grand school of social
vitality. In these lies her hope that she will not fall,
and that she will develop.
People are but collective units arising from individ-
ual or single beings united by force of nationality,
laws, inherent powers and actions. They grow and
nourish in accordance with their natural elements and
its development -- and this development is the flower
and the most beautiful crown of its existence.
As every nation is but a part of the grand division
of the human society which it influences by its own
characteristics, so is the literature of each nationality
a part of the general enlightenment -- which, circulating
around according to its strength and spirit, tends in
the same direction, and contributes toward making the
whole human kind more enlightened and more happy.
The literature of such people is a record of their
spiritual existence, and hence it becomes their duty --
a duty which they owe to themselves and the country
of their birth -- to disseminate it, though it be in an
humble way, among the nations of the earth. Placed
in an apotheotic light on the heights of time, encom-
passing the past and the future, it points out the
direction, the mind and the feelings of the people from
whose hearts it sprung -- at the same time erecting im-
perishable monuments for them which neither passing
misfortunes nor the relentless hand of time can ever
obliterate.
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? INTRODUCTION. 13
Years ago there existed a great nation -- great in
achievements -- noble in her bearing toward her neigh-
bors -- a warlike and chivalrous people, who once
commanded the respect and admiration of the world.
That nation was Poland. Since she began to play an
important role in the history of nations she could
count over 1,500 literary names, many of which were
at the time , and are now, illustrious in the annals not
only of Poland, but of the world. Prostrate, parti-
tioned, suffering, and blotted out as it were from
existence, she awaits the fulfillment of her destiny.
Fate sometimes strikes nations as it does individuals,
but hope in her case, though it may seem futile to
other nationalities, never forsakes the sorrowing hearts
of her children. Scattered though they are through-
out the confines of the habitable globe, they have
never ceased to wait, to hope, and to trust, that she
will once more be resuscitated, resurrected, regen-
erated, and once more counted among the nations of
the earth! And we think that we are not mistaken
when we say that there are many noble hearts in all
nationalities who would respond to this heartfelt long-
ing with an Amen!
It is not the intent of the compiler and editor of
this work to go into a diffuse history of Polish litera-
ture; his resources being rather limited, he must do
as best he can. The purpose of this volume is only to
take a cursory glance, and to present to the American
public the names of some of the most distinguished
Polish poets, with short biographical sketches and
some specimens of their productions translated into the
English language -- some of which may not be equal to
the originals in the easy flow of language and the
beauty of expression. The Polish tongue may seem to
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? 14 POETS AND POETRY OF POLAND.
other nationalities as somewhat harsh and discordant,
but in reality it is one of the most flowery, expressive,
and harmonious languages extant. No language can
excel it in heroic verse, nor claim preeminence over it
in the expression of sentiment.
Although the editor has written and translated a
goodly part of The Poets and Poetry of Poland, he
availed himself of some translations of Dr. John
Bowring, a distinguished English litterateur, and of
Dr. Thomas D. English, an American gentleman of
eminent poetical talent. He also cheerfully acknowl-
edges assistance and advice of friends well experienced
in literary matters.
In presenting this work to the public the editor
can truthfully state that he has been patiently waiting
for thirty years for some of his learned and able coun-
trymen to come to the front with a work on "the
Poets and Poetry of Poland," but up to this period no
one has yet appeared, so this important task has fallen
to his lot. He cheerfully accepts the situation, and
in offering this to the American People and to his
countrymen, he regrets that the collection is not more
complete and not more satisfactory to himself -- for he
can proclaim to the world, without any egotistical feel-
ing of nationality, but in all the sincerity of his heart,
that Polish literature is a deep mine of precious treas-
ure, although outside of its own people it has been
known but little heretofore. There may have been
impediments to cause this delay, but as the world
advances in knowledge and general enlightenment these
hidden treasures will be unearthed and brought to
light.
This volume only points out the place where it
lies inert, and fortunate will be the hand that will in
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? INTRODUCTION. 15
the future unearth these untold poetical treasures that
have for so many years lain hidden from the sight of
one of most enlightened people, the Anglo-Americans;
but the way having once been opened, there will be
found in the future stronger and abler hands, who can
add to this work a great deal of valuable matter which
would be interesting, not only to the American people
and the Poles, but to the world.
PAUL SOBOLESKI.
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? THREE GREATEST POLISH POETS.
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? POETRY OF POLAND.
The rise and progress of Polish Poetry and general liter-
ature may be divided in five distinct epochs, to- wit :
First Epoch -- Called Piast- Jagellon Epoch, from the year
1000 to 1500.
Second Epoch -- That of King Sigismund, and extending
from 1500 to 1620.
Third Epoch -- The Jesuit Epoch, from 1620 to 1750.
Fourth Epoch -- Known as the Classic Epoch (or Kon-
arski^ Epoch), from 1750 to 1822.
Fifth Epoch -- The Romantic Epoch, commencing with
the appearance of Adam Mickiewicz and extending up to the
present time.
FIEST EPOCH.
Piast-Jagellon. Which may be considered as the Morning
Star of Polish Literature. It dates from the intro-
duction of Christianity to the time when printing came
into general use -- 1000-1500.
Before the tenth century the history of Polish Poetry
is rather dim and uncertain. It is only since the intro-
duction of Christianity into Poland, during the reign of
Mieczyslas I, that the Polish literature assumed a per-
ceptible shape. With the advance of civilization the
idols created in bygone days, before which the people
bowed, were one by one demolished, and the prejudices
17
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? 18 POETS AND POETRY OF POLAND.
of the past so thoroughly subverted that in a short
time scarcely a vestige of them was left. We have,
indeed, old reminiscences of songs, fables, and tradi-
tions, but we find them all pervaded in exaggeration
and superstition.
In this interesting period we had poems, secular
songs, and other kinds of rhythmical compositions, be-
cause circumstances surrounding our people -- such as
wars, victories, and defeats ; weddings, funerals, and
national ceremonies -- naturally called into existence the
feeling of poetical inspiration ; hence bards appeared
who were the creators of these compositions. We had
also religious poetry, because from time immemorial
our people sung in churches in the Polish language;
but the relics of the original sacred poetry are very
scarce, since in the progression and refinement of the
Polish language these compositions were, so to speak,
made over, and hence many of them lost the stamp of'
their originality.
In the fifteenth century Polish Poetry made but little
progress ; indeed, we may say it stood as it was in the
age of Piast -- in its infancy. Scholastic philosophy and
the Latin tongue stifled, as it were, the native vein of
the Polish songs, -- scarcely the traces of a few were pre-
served. Toward the end of the fifteenth century, when
our people became more numerous and stronger, our
poets also began to assume more distinct and promi-
nent places. We no longer rest on conjectures and in-
ferences, but upon monumental evidences. Sacred
poetry was founded upon several renditions of the
Psalms, as also upon sacred songs translated from the
Bohemian, and the secular rested upon a wider range
and continual improvement on the Piast period. Hence
the rhythmical compositions of that period not being
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? POETRY OF POLAND. 19
characterized by any especial shading of poetry, we will
only classify the remaining traces and monuments.
'l. Relics of sacred poetry. 2. Of secular rhyth-
mical creations. In fact we could mention some dra-
matic souvenirs of those ages, but as they are of no
great significance, we leave that part to the pen of a
special inquirer.
RELICS OF SACRED POETRY.
After the introduction of Christianity, the Polish
Poetry, being under the influence of the civilization of
"Western Europe, began to flourish very early in sacred
or church songs ; although these songs were chiefly
translations from the Bohemian tongue, or, we should
rather remark, they were sort of made over.
Of the earliest poetic compositions nothing has yet
been found. Whether they had been wholly lost, or
were defaced by continual use in handling and tran-
scribing, is uncertain ; but as no religion has ever done
without songs and chants, we may naturally presume
that such had existed. Songs and chants of that kind
form the nucleus of every nation's poetry and music, and
it was in such rhythmical composition that the Polish
language . began to put forth its shoots, to refine and
improve. Pious simplicity especially characterizes these
compositions; intrinsically they have no poetical worth,
being as it were only prose un skillfully versified.
From the most important of these compositions
which came down to our times, and which deserve
notice, is :
1. "Boga Rodzica" (the Mother of God), origi-
nally composed by St. Adelbert. This celebrated chant
was composed in the Bohemian language, and was sung
by the Poles before the commencement of every battle,
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? 20 POETS AND POETRY OF POLAND.
and is to this day sung during the divine services in the
Cathedral of Gniezno. The author of this celebrated
chant was born in 950 in Bohemia, and was the Bishop
of Prague. Being persecuted by the Bohemians, he
removed at first to Hungary, and then to Poland.
That was during the reign of Mieczyslas I, where he
was instrumental in spreading the newly introduced
doctrines of Christianity. In the year 995, with the
advice of Boleslas the Great, King of Poland, he went
to Prussia to instruct the pagans of that country in
Christianity, and suffered the death of a martyr at
Fishhausen. Bole. -las the Great bought his body from
the Prussians and had it buried with great ceremony at
Gniezno. Otto III, the Emperor of Germany, visited
his grave.
2. Fiftieth Psalm from thirteenth century.
3. Sorrows of the Mother of God under the Cross
of the Redeemer.
4. Psalter of Margaret, the Princess of the Mora-
vians, from fourteenth century ; but it is not certain
whether the production belongs to Margaret, the wife
of Louis, King of Hungary, or to Maria, the King's
eldest daughter. From certain passages there are
traces giving us to understand that it was the first trial --
the first translation of the psalter.
5. The Psalter of Queen Hedwige, from fifteenth
century -- the two first psalms.
6. Be Praised the Queen (Salve Regina), from the
year 1406.
Of the names of the authors of religious songs of
those days the following are known to us :
John Witowski, the companion of Ladislaus ? okietek,
who composed a song on the sufferings of our Lord,
which was sung in Poland during Lent.
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? POETRY OF POLAND. 21
John Opalin? ski, the bishop of Posen, a great lover
of music and good cheer. He wrote a song about the
Ascension ; the Immaculate Virgin Mary ; a song
about St. Adelbert ; live songs about St. Peter, and
six about St. Paul. These songs were sung by the
religious brotherhood of Posen.
John Preworszczyk, from fifteenth century, who
collected a small volume of ''Anthems " (1435). This
collection contains originals and translations from the
Latin, and the title is also Latin.
Andrew from SIupia, a Benedictine monk, wrote
songs of the Queen of Heaven ; also hymns to Jesus
Christ and others. These compositions are superior to
any previously written.
At that period the Poles had not come to full civili-
zation, and yielded to the influences of Western
Europe. Their poetry began at once to assume a
higher grade, and became more assimilated with music,
full of sweet harmony. Between 965-1040, however,
they still sang the old songs. The boors guarding the
bordering Castles during the reign of Boleslas the
Romantic, about King Popiel, were commonly sung by
young girls, and were not given up until the death of
Boleslas the Great. There were also many dumas ,
about the Tartars, who, in the thirteenth century, about
every twenty years made incursions into Poland ; but
after a while these songs fell into disuse:
There were also many ritual songs. The fragments
of these compositions attest their antiquity. Many of
these were made over into Christian songs, leaving,
however, the traces of some primitive words originally
used, which plainly identify them as the relics of old
times.
The wedding songs were preserved the best of any
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? 22 POETS AND POETRY OF POLAND.
during almost eight centuries. These songs seem to
possess an idyllic tendency, and have come down even
to the present time in their primitiveness. From these
remnants the following deserve mention :
1. Congratulatory song to King Casimir I, begin-
ning with the words " Welcome, welcome, our dear
host. "
2. Plaintive songs of Boleslas the Great, which
Martin Gallus translated into Latin.
3. Song in honor of Boleslas, surnamed " The
Crooked-Mouthed. "
4. Song describing the assassination of Ludgarda
by her husband Przemyslas.
5. Song about Albert, the Justice of the City of
Cracow.
6. Song about Yitold.
7. Song concerning the calamity of Bukowina.
The most distinguished authors of those times are :
Andrew GaIka, the Professor in the Academy of
Cracow, and Canon of St. Thomas' Church, lived in
fifteenth century. Lie composed a song about Wick-
liffe, who encouraged Huss's religious views among the
Poles.
Adam S? winka, the Cathedral Canon of Cracow, and
Secretary of Jagello, lived in fifteenth century. He
wrote beautiful elegiac verses in the Latin tongue ;
epitaph on the death of Queen Hedwige ; composition
on the death of Zawisza*, surnamed "The Black. "
Besides these he wrote a heroic poem -- " De rebus
gestis ac dictus memorabilibus Casimiri Secundi Polo-
niae Regis inclitissimi. " These songs were translated
into Polish by Louis Kondratowicz.
Conrad Celtes wrote "Carmen ad Yistulam," de-
* A celebrated Polish hero.
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13. Goszczyn? ski.
14. Pol.
15. Kondratowicz.
16. Kraszewski.
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? POLISH ACCENTED LETTERS.
Besides the common alphabet, the Poles have the
following accented letters -- and as they may occa-
sionally occur in this work, it is deemed proper to
explain their sounds and pronunciation as far as it was
possible so to clo.
c| (nasal), has the sound of the French on as in son,
pardon, etc.
C, is pronounced tsie.
C (nasal), has the sound like the French un, as in
chacun, or like in as in main.
? J 1, very nearly as the English I, as in log, long, etc.
EL, is pronounced like the English n in need, or in
French, gagne.
O, is pronounced like the English oo.
S, like the English s, followed by e, as in sea, seize.
Z? , like the English z, in Zealand.
Z? , is pronounced like French g or j, as in genou,
jambe, jardin.
j, is always pronounced like y.
i, like ee.
w, like English v.
u, like oo
cz, like the English ch, as in child, chip, etc.
sz, like sh, as in shall, shield, etc.
rz, very like the French j, as in jardin.
szcz, like stch.
ch, very nearly like h, or like the German ch, as in
machen. brechen, etc.
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? PRONUNCIATION OF POETS' NAMES.
BALIN? SKI, -
BERWIN? SKI, -
BRODZIN? SKI, -
BOGUS? AWSKI,
DRUZ? BACKA, -
DMUCHOWSKI,
DEOTYMA,
FELIN? SKI, -
GAWIN? SKI,
GARCZYN? SKI,
GASZYN? SKI,
GO? RECKI,
gos? awski, -
goszczyn? ski,
ho? owin? ski, -
jachowicz, -
jakubowski, -
jasko wski, -
karpin? ski,
klonowicz;
TRONOUNCE
Bah-lin-skee.
Ber-vin-skee.
Bro-dzin-skee.
- Bo-GOO-SLAV-SKEE.
Droosh-batz-kah.
- Dmoo-hov-skee.
Deo-te-ma.
Feh-lin-skee.
Gah-vin-skee.
- Gar-tschyn-skee,
Gah-shin-skee.
- Go-retz-kee.
gos-lav-skee.
- gosh-tchin-skee.
holo-vin-skee.
- Yah-ho-vitch.
Ya-koo-bov-skee.
- Yas-kov-skee.
Kar-pin-skee.
Klo-no-yitch
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? PRONUNCIATION OF POETS NAMES.
KOCHANOWSKI,
KNIAZN? IN, -
KONARSKI,
KONDRATOWICZ,
KORSAK (RAY),
KORSAK (JUL),
KORZENIOWSKI,
KRASICKI, -
KRASIN? SKI,
KRASZEWSKI,
KRO PIN? SKI,
LENARTOWICZ,
MALCZEWSKI, -
MIASKOWSKI,
MINASOWICZ, -
MICKIEWICZ,
MORAWSKI,
NARUSZEWICZ,
NIEMCEWICZ, -
ODYNIEC,
OLIZAROWSKI, -
OSIN? SKI,
POL, -
REY,
SARBIEWSKI, -
PRONOUNCE
Ko-HA-NOV-SKEE.
- KlN-AZ-NIN.
Ko-NAR-SKEE.
- KoN-DRAH-TOVITCH.
KOR-SAK.
- Kor- sak.
kor-zhen-ov-skee.
- Krah-sitz-kee.
Krah-sin-skee.
- Krah-shev-skee.
Kro-pin-skee.
- Leh-nar-to-vitch.
Mal-tchev-skee.
- MlAS-KOV-SKEE.
Me-nah-so-vitcu.
- MlTZ-KEH-VITCH.
Mo-RAV-SKEE.
- Na-rush-eh-vitch.
NlEM-TZE-VITCH
- O-DEE-NETZ.
O- LEE- ZAH-ROV-SKEE.
- O-SEEN-SKEE.
POHL.
- Rey.
Sar-biev-skee.
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? PRONUNCIATION OF POETS NAMES.
SIENKIEWICZ,
S? OWACKI,
SZYMONOWICZ,
TREMBECKI,
UJEJSKI,
WASILEWSKI, -
WENGIERSKI,
WITWICKI,
WORONICZ, -
WYBICKI, -
ZALESKI,
ZAN, -
ZIMOROWICZ,
ZMIECHOWSKA,
ZMORSKI,
PRONOUNCE
- Sein-keh-vitch.
Slo-vatz-kee.
- She-mo-no-vitch.
Trem-betz-kee.
- ooy-ey-skee.
Yah-see-lehv-skee.
- Yen-gher-skee.
YlT-VITZ-KEE.
- Yo? -RO-NITCH.
Ye-bitz-kee.
- Zah-les-kee.
Zahn.
- Ze-mo-ro-vitch.
Zmee-hov-skah.
- Zmor-skee.
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? INTRODUCTION.
It has been said that the most interesting phenome-
non in the history of a people is the rise and progress
of its literature. As in an individual man, so it is
likewise in a nation, life manifests itself in a twofold
manner: in action and in word. A wise man of an-
tiquity once said to an individual unknown to him:
" Speak, that I may know you. " Thus we can address
ourselves to every civilized people -- "show us your
literature, that we may judge of the actual state of your
civilization, your character and your general qualifi-
cations. "
11
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? 12 POETS AND POETRY OF POLAND.
It is not enough that a nation has a literature of
its own, and that she sets it in sight of the progression
of humanity. It is not enough that she has actors
appearing on the scene of learning and knowledge;
a nation which has a desire to live and to advance with
proper dignity to her destiny must also have specta-
tors, hearers and learners in the grand school of social
vitality. In these lies her hope that she will not fall,
and that she will develop.
People are but collective units arising from individ-
ual or single beings united by force of nationality,
laws, inherent powers and actions. They grow and
nourish in accordance with their natural elements and
its development -- and this development is the flower
and the most beautiful crown of its existence.
As every nation is but a part of the grand division
of the human society which it influences by its own
characteristics, so is the literature of each nationality
a part of the general enlightenment -- which, circulating
around according to its strength and spirit, tends in
the same direction, and contributes toward making the
whole human kind more enlightened and more happy.
The literature of such people is a record of their
spiritual existence, and hence it becomes their duty --
a duty which they owe to themselves and the country
of their birth -- to disseminate it, though it be in an
humble way, among the nations of the earth. Placed
in an apotheotic light on the heights of time, encom-
passing the past and the future, it points out the
direction, the mind and the feelings of the people from
whose hearts it sprung -- at the same time erecting im-
perishable monuments for them which neither passing
misfortunes nor the relentless hand of time can ever
obliterate.
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? INTRODUCTION. 13
Years ago there existed a great nation -- great in
achievements -- noble in her bearing toward her neigh-
bors -- a warlike and chivalrous people, who once
commanded the respect and admiration of the world.
That nation was Poland. Since she began to play an
important role in the history of nations she could
count over 1,500 literary names, many of which were
at the time , and are now, illustrious in the annals not
only of Poland, but of the world. Prostrate, parti-
tioned, suffering, and blotted out as it were from
existence, she awaits the fulfillment of her destiny.
Fate sometimes strikes nations as it does individuals,
but hope in her case, though it may seem futile to
other nationalities, never forsakes the sorrowing hearts
of her children. Scattered though they are through-
out the confines of the habitable globe, they have
never ceased to wait, to hope, and to trust, that she
will once more be resuscitated, resurrected, regen-
erated, and once more counted among the nations of
the earth! And we think that we are not mistaken
when we say that there are many noble hearts in all
nationalities who would respond to this heartfelt long-
ing with an Amen!
It is not the intent of the compiler and editor of
this work to go into a diffuse history of Polish litera-
ture; his resources being rather limited, he must do
as best he can. The purpose of this volume is only to
take a cursory glance, and to present to the American
public the names of some of the most distinguished
Polish poets, with short biographical sketches and
some specimens of their productions translated into the
English language -- some of which may not be equal to
the originals in the easy flow of language and the
beauty of expression. The Polish tongue may seem to
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? 14 POETS AND POETRY OF POLAND.
other nationalities as somewhat harsh and discordant,
but in reality it is one of the most flowery, expressive,
and harmonious languages extant. No language can
excel it in heroic verse, nor claim preeminence over it
in the expression of sentiment.
Although the editor has written and translated a
goodly part of The Poets and Poetry of Poland, he
availed himself of some translations of Dr. John
Bowring, a distinguished English litterateur, and of
Dr. Thomas D. English, an American gentleman of
eminent poetical talent. He also cheerfully acknowl-
edges assistance and advice of friends well experienced
in literary matters.
In presenting this work to the public the editor
can truthfully state that he has been patiently waiting
for thirty years for some of his learned and able coun-
trymen to come to the front with a work on "the
Poets and Poetry of Poland," but up to this period no
one has yet appeared, so this important task has fallen
to his lot. He cheerfully accepts the situation, and
in offering this to the American People and to his
countrymen, he regrets that the collection is not more
complete and not more satisfactory to himself -- for he
can proclaim to the world, without any egotistical feel-
ing of nationality, but in all the sincerity of his heart,
that Polish literature is a deep mine of precious treas-
ure, although outside of its own people it has been
known but little heretofore. There may have been
impediments to cause this delay, but as the world
advances in knowledge and general enlightenment these
hidden treasures will be unearthed and brought to
light.
This volume only points out the place where it
lies inert, and fortunate will be the hand that will in
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? INTRODUCTION. 15
the future unearth these untold poetical treasures that
have for so many years lain hidden from the sight of
one of most enlightened people, the Anglo-Americans;
but the way having once been opened, there will be
found in the future stronger and abler hands, who can
add to this work a great deal of valuable matter which
would be interesting, not only to the American people
and the Poles, but to the world.
PAUL SOBOLESKI.
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? THREE GREATEST POLISH POETS.
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? POETRY OF POLAND.
The rise and progress of Polish Poetry and general liter-
ature may be divided in five distinct epochs, to- wit :
First Epoch -- Called Piast- Jagellon Epoch, from the year
1000 to 1500.
Second Epoch -- That of King Sigismund, and extending
from 1500 to 1620.
Third Epoch -- The Jesuit Epoch, from 1620 to 1750.
Fourth Epoch -- Known as the Classic Epoch (or Kon-
arski^ Epoch), from 1750 to 1822.
Fifth Epoch -- The Romantic Epoch, commencing with
the appearance of Adam Mickiewicz and extending up to the
present time.
FIEST EPOCH.
Piast-Jagellon. Which may be considered as the Morning
Star of Polish Literature. It dates from the intro-
duction of Christianity to the time when printing came
into general use -- 1000-1500.
Before the tenth century the history of Polish Poetry
is rather dim and uncertain. It is only since the intro-
duction of Christianity into Poland, during the reign of
Mieczyslas I, that the Polish literature assumed a per-
ceptible shape. With the advance of civilization the
idols created in bygone days, before which the people
bowed, were one by one demolished, and the prejudices
17
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? 18 POETS AND POETRY OF POLAND.
of the past so thoroughly subverted that in a short
time scarcely a vestige of them was left. We have,
indeed, old reminiscences of songs, fables, and tradi-
tions, but we find them all pervaded in exaggeration
and superstition.
In this interesting period we had poems, secular
songs, and other kinds of rhythmical compositions, be-
cause circumstances surrounding our people -- such as
wars, victories, and defeats ; weddings, funerals, and
national ceremonies -- naturally called into existence the
feeling of poetical inspiration ; hence bards appeared
who were the creators of these compositions. We had
also religious poetry, because from time immemorial
our people sung in churches in the Polish language;
but the relics of the original sacred poetry are very
scarce, since in the progression and refinement of the
Polish language these compositions were, so to speak,
made over, and hence many of them lost the stamp of'
their originality.
In the fifteenth century Polish Poetry made but little
progress ; indeed, we may say it stood as it was in the
age of Piast -- in its infancy. Scholastic philosophy and
the Latin tongue stifled, as it were, the native vein of
the Polish songs, -- scarcely the traces of a few were pre-
served. Toward the end of the fifteenth century, when
our people became more numerous and stronger, our
poets also began to assume more distinct and promi-
nent places. We no longer rest on conjectures and in-
ferences, but upon monumental evidences. Sacred
poetry was founded upon several renditions of the
Psalms, as also upon sacred songs translated from the
Bohemian, and the secular rested upon a wider range
and continual improvement on the Piast period. Hence
the rhythmical compositions of that period not being
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? POETRY OF POLAND. 19
characterized by any especial shading of poetry, we will
only classify the remaining traces and monuments.
'l. Relics of sacred poetry. 2. Of secular rhyth-
mical creations. In fact we could mention some dra-
matic souvenirs of those ages, but as they are of no
great significance, we leave that part to the pen of a
special inquirer.
RELICS OF SACRED POETRY.
After the introduction of Christianity, the Polish
Poetry, being under the influence of the civilization of
"Western Europe, began to flourish very early in sacred
or church songs ; although these songs were chiefly
translations from the Bohemian tongue, or, we should
rather remark, they were sort of made over.
Of the earliest poetic compositions nothing has yet
been found. Whether they had been wholly lost, or
were defaced by continual use in handling and tran-
scribing, is uncertain ; but as no religion has ever done
without songs and chants, we may naturally presume
that such had existed. Songs and chants of that kind
form the nucleus of every nation's poetry and music, and
it was in such rhythmical composition that the Polish
language . began to put forth its shoots, to refine and
improve. Pious simplicity especially characterizes these
compositions; intrinsically they have no poetical worth,
being as it were only prose un skillfully versified.
From the most important of these compositions
which came down to our times, and which deserve
notice, is :
1. "Boga Rodzica" (the Mother of God), origi-
nally composed by St. Adelbert. This celebrated chant
was composed in the Bohemian language, and was sung
by the Poles before the commencement of every battle,
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? 20 POETS AND POETRY OF POLAND.
and is to this day sung during the divine services in the
Cathedral of Gniezno. The author of this celebrated
chant was born in 950 in Bohemia, and was the Bishop
of Prague. Being persecuted by the Bohemians, he
removed at first to Hungary, and then to Poland.
That was during the reign of Mieczyslas I, where he
was instrumental in spreading the newly introduced
doctrines of Christianity. In the year 995, with the
advice of Boleslas the Great, King of Poland, he went
to Prussia to instruct the pagans of that country in
Christianity, and suffered the death of a martyr at
Fishhausen. Bole. -las the Great bought his body from
the Prussians and had it buried with great ceremony at
Gniezno. Otto III, the Emperor of Germany, visited
his grave.
2. Fiftieth Psalm from thirteenth century.
3. Sorrows of the Mother of God under the Cross
of the Redeemer.
4. Psalter of Margaret, the Princess of the Mora-
vians, from fourteenth century ; but it is not certain
whether the production belongs to Margaret, the wife
of Louis, King of Hungary, or to Maria, the King's
eldest daughter. From certain passages there are
traces giving us to understand that it was the first trial --
the first translation of the psalter.
5. The Psalter of Queen Hedwige, from fifteenth
century -- the two first psalms.
6. Be Praised the Queen (Salve Regina), from the
year 1406.
Of the names of the authors of religious songs of
those days the following are known to us :
John Witowski, the companion of Ladislaus ? okietek,
who composed a song on the sufferings of our Lord,
which was sung in Poland during Lent.
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? POETRY OF POLAND. 21
John Opalin? ski, the bishop of Posen, a great lover
of music and good cheer. He wrote a song about the
Ascension ; the Immaculate Virgin Mary ; a song
about St. Adelbert ; live songs about St. Peter, and
six about St. Paul. These songs were sung by the
religious brotherhood of Posen.
John Preworszczyk, from fifteenth century, who
collected a small volume of ''Anthems " (1435). This
collection contains originals and translations from the
Latin, and the title is also Latin.
Andrew from SIupia, a Benedictine monk, wrote
songs of the Queen of Heaven ; also hymns to Jesus
Christ and others. These compositions are superior to
any previously written.
At that period the Poles had not come to full civili-
zation, and yielded to the influences of Western
Europe. Their poetry began at once to assume a
higher grade, and became more assimilated with music,
full of sweet harmony. Between 965-1040, however,
they still sang the old songs. The boors guarding the
bordering Castles during the reign of Boleslas the
Romantic, about King Popiel, were commonly sung by
young girls, and were not given up until the death of
Boleslas the Great. There were also many dumas ,
about the Tartars, who, in the thirteenth century, about
every twenty years made incursions into Poland ; but
after a while these songs fell into disuse:
There were also many ritual songs. The fragments
of these compositions attest their antiquity. Many of
these were made over into Christian songs, leaving,
however, the traces of some primitive words originally
used, which plainly identify them as the relics of old
times.
The wedding songs were preserved the best of any
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? 22 POETS AND POETRY OF POLAND.
during almost eight centuries. These songs seem to
possess an idyllic tendency, and have come down even
to the present time in their primitiveness. From these
remnants the following deserve mention :
1. Congratulatory song to King Casimir I, begin-
ning with the words " Welcome, welcome, our dear
host. "
2. Plaintive songs of Boleslas the Great, which
Martin Gallus translated into Latin.
3. Song in honor of Boleslas, surnamed " The
Crooked-Mouthed. "
4. Song describing the assassination of Ludgarda
by her husband Przemyslas.
5. Song about Albert, the Justice of the City of
Cracow.
6. Song about Yitold.
7. Song concerning the calamity of Bukowina.
The most distinguished authors of those times are :
Andrew GaIka, the Professor in the Academy of
Cracow, and Canon of St. Thomas' Church, lived in
fifteenth century. Lie composed a song about Wick-
liffe, who encouraged Huss's religious views among the
Poles.
Adam S? winka, the Cathedral Canon of Cracow, and
Secretary of Jagello, lived in fifteenth century. He
wrote beautiful elegiac verses in the Latin tongue ;
epitaph on the death of Queen Hedwige ; composition
on the death of Zawisza*, surnamed "The Black. "
Besides these he wrote a heroic poem -- " De rebus
gestis ac dictus memorabilibus Casimiri Secundi Polo-
niae Regis inclitissimi. " These songs were translated
into Polish by Louis Kondratowicz.
Conrad Celtes wrote "Carmen ad Yistulam," de-
* A celebrated Polish hero.
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