Intertextual play in polish contemporary poetry

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Размещено на http://www.Allbest.Ru/

Pedagogical university of Krakow

Intertextual play in polish contemporary poetry

Maria Ostasz

Annotation

Intertextual games, which are the focus of this article, have been mainly based upon texts written by various Polish poets. The analysis of carefully selected texts enabled naming of the basic intertextual dialogue strategies used by the poets, as well as proving that their creative endeavors bear the character of an inter- textual game, which invites the young reader to participate, too. It has been also proved, that the strategies used in many fairy tale intertextual games do not only refer to the texts but also to the poets themselves: they appear in turn in the role of hypotext or hypertext authors.

Keywords: hypotext, hypertext, intertextual game, poetics of quarrel, tale.

М. Осташ. Интертекстуальная игра в современной польской поэзии

Интертекстуальная игра, которая находится в центре внимания нашей работы, не только является одним из актуальных полей литературоведческого исследования, но и популярным элементом литературной продукции в исследуемых жанровых пределах в контексте генезиса тематики, стилистических реминисценций или формальных трансформаций. В 2007 году три современные поэтессы, Агнешка Франчек, Уршула Козловская и Агата Видзовская-Пазяк опубликовали книгу “Как некоторые поэты спорили о петрушке или приключение длиной в 48 стихов” [Poklocily si$ poetki o pietruszk^ i skarpetki, czyli awantura na 48 wierszy], в которой они анализируют поэтологический инструментарий этих текстов, моделируя теорию о “поэтике спора”. Стратегии, используемые в этих сказочных интертекстуальных играх не только реферируют к текстам, но и к самим поэтам: они появляются в свою очередь, в качестве гипотекстовых или гипертекстовых авторов. Анализ избранных текстов сделал возможным название основных стратегий интертекстуального диалога, использованного авторами, а также дал возможность доказать, что их творческие усилия носят характер интертекстуальной игры, которая апеллирует к молодым читателям.

Ключевые слова: гипотекст, гипертекст, интертекстуальная игра, поэтика спора, сказка

М. Осташ. Інтертекстуальна гра в сучасній польській поезії

Інтертекстуальна гра, яка є центрі уваги нашої праці, є не лише одним з актуальних полів літературознавчого дослідження, а й популярним елементом літературної продукції в досліджуваних жанрових межах у контексті генези тематики, стилістичних ремінісценцій чи формальних трансформацій. У 2007 році три сучасні поетеси, Аґнєшка Франчек, Уршула Козловска та Аґата Відзовська-Пазяк опублікували книгу “Як деякі поети сперечалися про петрушку чи пригода довжиною у 48 віршів” [Poklocily si$ poetki o pietruszkі i skarpetki, czyli awantura na 48 wierszy], в якій вони аналізують поетологічний інструментарій цих текстів, моделюючи теорію про “поетику суперечки”. Стратегії, що використовуються в цих казкових інтертекстуальних іграх не реферують лише до текстів, а й до самих поетів: вони з'являються, зі свого боку, в ролі гіпотекстових або гіпертекстових авторів. Аналіз обраних текстів уможливив номенування основних стратегій інтертекстуального діалогу, використаного авторами, а також дав можливість довести, що їхні творчі зусилля носять характер інтертекстуальної гри, яка апелює до молодих читачів.

Ключові слова: гіпотекст, гіпертекст, інтертекстуальна гра, поетика суперечки, казка

Intertextual games, which are the focus of this article, prove to be not only up to date within the research area but also a popular element of literary output. Breaking the boundaries between different literary traditions, the past and the contemporary, is given the name of a game or intertextual dialogue strategy. [1, p. 81]. Glowinski (....) defines intertextuality as present when “reference to an earlier text is a part of the semantic structure In which it appears”. The master text, or, to use Genette's term, hypotext is the basis of the semantic structure of new text, called hypertext [4, p. 12-15].

In a similar vein, Kristeva says, “each literary text incorporates other, earlier texts, which makes it a network of numerous borrowings” [2, p. 334]. The borrowed elements can fulfill different functions, often contrary to those which were used in the master text. A number of them, for example those representing the paidial conventions of “an upside down word” (“swiat na opak”) [6], serve an only function of suggesting an axiological dimension, intertextuality can be a matter of degree, starting from a slight notion up to a clear collage of texts [5, s. 502]. The typology of intertextual games - according to Balbus [1, s. 83-85] - contains a number of categories. A broadly understood stylization consists in a clear demonstrative reference to another text, which makes the tension between the two texts all too clear. An active continuation is a safe, conflict-avoiding and nonconversational extension of the traditional source, often not in the form of a dialogue at all. The stylistic reminiscence becomes a semiotic gesture in itself, which stresses the similarity between the codes. The restitution of the form is like coping: it consists in is reaching for the common good of the tradition.

In 2007 three contemporary poets, Agnieszka Frqczek, Urszula Kozlowska and Agata Widzowska-Pasiak published a book entitled Poklocily siq poetki o pietruszkq i skarpetki, czyli awantura na 48 wierszy [How some poets quarreled about the parsley and the socks or a row of 48 poems], which comprises 24 chapters with structurally homogeneous titles (all using the “or” junction), similar to the book title itself. Also the titles of the introduction and the summary are significant: Poklocily siq poetki [How some poets quarreled] and Smiechu warte [You must be kidding]. The aforementioned poets argue by means of their poetic texts, which emulate the poetics of a quarrel. Each of them is signed with a poets' first name. As it is natural for a quarrel to include an emotional exchange of opinions, the created world of the hypotexts is usually negated - the modification of the hypertexts introduces an axiological dissonance. The strategies used in these fairy tale intertextual games refer not only to the texts but also the poets themselves. They appear in turn in the role of hypotext or hypertext authors.

The poetics of a quarrel definitely suggests reference to an already classical fairy tales of Brzechwa, e.g. Klotnia rzek [The quarrel of rivers] or Na straganie [At the stall]. The beginning chapters, in line with the title of the book, consist in poetic arguments about parsley and socks. The chapter entitled O urodzie korzonkow, czyli awantura w warzywniaku [About the beauty of the roots or a greengrocers' brawl] is a travesty of the classics. The poems focus on two most popular vegetables, while At the stall has as many as 13 vegetables quarrelling. They show a full picture of their physiognomy and culinary merits, as well as underline an intolerant xenophobic protagonist of the hypotext. The semantics of the hypertext is co- created with the hypotexts, by negation and contrast. The initial fairy tale situation introduces the problem: „Kulinarny boj siq toczy -/ kto nas wdziqkiem zauroczy?/ Lepsza marchew czy pietruszka?/ Kto ciekawy, niech poslucha/ Spotkala siq marchew z pietruszkq” [here we have a culinary row - which is the best of all? Let all interested hear it. Once a carrot once met a parsley”. [3, p. 10].

What follows is the introduction of the protagonists. First we have Miss Marchewka [Miss Carrot] poem by Kozlowska (signed with the first name Ula), in which a small Miss Word boasts of her charms:

Spojrz na mnie - ja z moim kolorem dla innych przykladem i wzorem bye mogq... I jeszcze ci wyznam, ze niczym beze mnie wloszczyzna!

Bez marchwi surowki nie bqdzie! Przydajq siq zawsze i wszqdzie! Sok z marchwi i marchew na gqsto Spozywa siq chqtnie i czqsto! wiqc jestem i smaczna, i zdrowa, a ciebie nie warto kupowac! Pietruszko. ach! Tak mi ciq szkoda.

Nie wszystkim wszak dana uroda, lecz tego ci rowniez wspolczujq, ze nie nadzwyczajnie smakujesz. Na stole widujq ciq rzadko. Juz przestan zaslaniac siq natkq! [3, s. 11]

Look at me, and colour mine Which a sample, model fine Is for others. There's no salad without carrot, carrot juice and carrot pure all too gladly now consume So I'm healthy and I'm tasty you do not deserve a purchase. Parsley! I'm so sorry for you but it's only some who shine with a beauty sure like mine.

And I'm also deeply sorry that your taste very poor-y You don't patron tables, so be so kind and stop the show your green leaves is all you owen. As it would be expected from a lady, the carrot, talks with the use of archaic, warm but patronising politeness: “- Cos powiem ci, moja duszko/ Wyglqdasz zle, jestes blada, / tak blada, ze az nie wypada”. [Let me tell you something, dear / you are pale, so very pale/ that is really is a shame]

Continuing to present its merits in the next stanza, the carrot uses a confidential tone: “No coz, powiem tak miqdzy nami - zawieram wiqcej witamin”, [well, just between you and me, I do have more vitamins!] and finishes with a pejorative: “Coz... muszq uczucia twe zranic, wiqc powiem, ze.jestes do bani!” [Well, here I must be really cruel, you are simply no-good fuel]. This kind of increasing emotionality seems natural in a quarrel.

The parsley, however, proves to be only a passive listener in the hypotext, while all the merits of the carrot have been clearly and demonstratively listed by their personified owner. But the second poem of the chapter, Pietruszka dama, [Lady Parsley], signed with a first name, Agnieszka - Agnieszka Frqczek continues the topic. The author is defending herself on behalf of the pale lady, and she aims at proving that its merits are not smaller:

Istotnie pietruszka jest blada. Lecz bladosc to przeciez nie wada!

Pietruszka nie bywa na plazy (po prostu nie znosi siс smazyc!) i slonca unika jak ognia.

Wciqz chadza w sweterkach i w spodniach (to bardzo twarzowe ubranko) i nosi parasol z falbankq. [3, s. 12]

Indeed the parsley is pale, but paleness is fine today. Parsley does not frequent the beach, she hates sweltering heat so she avoids the sun wearing her sweaters and pants which behold her just fine. She has a nice frilly hat.

Parsley talks about her attributes in a language of a worldly lady:

- Coz. mniemam, ze w swiecie gorszego nic nie ma niz nosek sciemnialy od slonca, brqzowe (lub rude!!!) ramionka i buzia pokryta piegami.

To wszakze tragedia dla damy!

Well, I cannot say what is really more passe than a brownish nose shoulders red and freckled face. They are all a real shame!

Lady Parsley cares for the physiological qualities:

Parsley is worried too much Not to become carrot like If the sun touches her face, so under the earth she finds her place She is a lady, as we all know.

Pietruszka na zapas si§ martwi, ze bdzie podobna do marchwi, gdy slonce jq musnie promieniem. Wic w koncu siс chowa pod ziemi. Bo ona po prostu jest damq I kazdy ci powie to samo!

Lady Parsley exhibits different tastes, which influence her looks and unique qualities as well as the values she believes in. As shown by the analysis, the hypotext and hypertext form a whole, and their common message is tolerance towards difference. It is worth mentioning that, against common misconceptions, good poetic text should fulfill the function of educating the young generation.

Another interesting part is Jakporzqdna skarpetka wyglqdac powinna? Czyli klotnia o sprawyzasadnicze. [What makes a respectable sock or a row over the essentials]. Here the roles become reversed: the hypotext Porzqdne skarpetki [Respectable socks] is signed with the first name Agnieszka (Frqczek), and the hypertext Skarpetki z klasq [Socks with class] is signed with Ula (Kozlowska). The initial fairy tale situation referring also to both poets' texts introduces the problem: “Poklocily si? poetki/ o rzecz zwyklq... O skarpetki / Jaka dlugosc? Jaki kolor?/ Ktore lepiej oddac molom...?” [3, s. 6] [Once two poets quarreled over what? Just socks. What colour, length they should be and which better give to the moth it would be] A three - stanza hypotext, consisting of simple colloquial result clauses, humorously defines the subject mentioned in the title:

Porzqdne skarpetki - to jasne - przenigdy nie mogq byc wlasne! Porzqdnym skarpetkom - to pewne - sq dziury na pi?tach potrzebne. [3, s. 6-7]

Respectable socks, it's clear cannot be one's own, my dear Respectable socks, surely with holes on the heel should be

Anaphoric repetitions of the object as well as the whole sentence structure with the use of” - to jasne -“-to pewne to proste “It's clear”, “Surely” “it's simple”] develop the humorous understanding of the sock respectability mentioned in the title. The first stanza explains: “czy czyste, czy brudne - po “prostu paskudnie sq nudne” [whether clean or dirty, socks are simply boring]. The econd one assures that socks “sq dziury na pi?tach potrzebne bo pi?ta dokladnie chce wiedziec, skqd przyszla i dokqd znow idzie” [need some holes, `cos heels want to know where they go], and the third one argues that socks “powinny byc dlugie, dluuugasne! Bo po to skarpetki sq wlasnie, by w zimie, gdy z nieba snieg proszy, nie marzly nam brzuchy i uszy” [should be looong, lest winter snow makes our bellies and ears cold]. intertextual dialogue polish poet

This double play with the understanding of the stereotypical aesthetics is not continued in the hypertext of Ula, which exhibits an educational tone and does not continue the poetics or the idea of the hypotext. The expression `z klasq' [with class] is defined here. It is not, however, a continuation of the ways in which the hypotext defines the key word porzqdne [respectable]. The first line of the poem Skarpetki z klasq [Socks with a class] repeats the title as hyper quotation, with the aim of developing the literary definition of an opaque understanding of aesthetics:

Zawsze nos skarpetki z klasq! Dobierz modny kroj i fason, estetyka twej uwadze niech nie ujdzie - dobrze radz?!

Always wear your socks with class find a trendy dress and cut don't forget they must look nice.

Gdy wylazq ci spod spodni, to jestesmy chyba zgodni ze najlepsze cale i koniecznie snieznobiale. [3, s. 8-9]

When they show under your trousers that is what we all agree they should have no holes and best if they come in snow white crest that's a good piece of advice

The intertextual game strategy consists primarily in the continuation of the topic. The poet Agnieszka, tells a enumerating- repetitory tale (in third person) about a double and hence humorous understanding of the conceptporzqdne, [respectable], while Ula, explains the concept of z klasq, [with class] by addressing the reader with directives (in second person singular): “Zadbaj o nie pelnq parq! Zetrzyj z pity plam? szarq, /zdejmij trampki, wloz sandaly i niech wszystkim wyjdq galy!” [3, p. 8-9]. [Care for them with all your will/ clean the gray blot form your heel/take off snickers put on sandals/ so that all think it's a scandal] Despite differences of poetics, lexical, phraseological and structural colloquialisms are found in both hypotext and hypertext. The intertextual game of the studied texts consist in a playful, opaque defining of the two aesthetics keywords in child's language. The intertextual game is also played by Agata Widzowska-Pasiak and Ula Kozlowska in Przepychanki w sprawie spanka. Czyli spor z budzikiem w tle [Little fights about the beddie or a row with an alarm clock]. The prototypes of the characters seem to be the poets themselves. Also here the problem is introduced by the initial fairy tale situation: “Znow wybuchla draka dzika: lepiej w nocy spac czy brykac? Dwie poetki niczym bestie klocq siq o owq kwestiq. Halasujq przy tym strasznie! Wiqc ja wcale dzis nie zasnq...” [3, p. 14]. [Here we fight again, if it's better to sleep or to horse around/ they're making so much noise. I will not sleep at all] It is the very titles that suggest the playfulness of the dialogue: Nocny Marek [A Night Owl] and Rannyptaszek [An Early Bird]. The poet Agata speaks with the voice of the title protagonist, bragging about her night time habits:

Ach rozkosznie czuwac nocq, patrzec, jak siq gwiazdy zlocq, pic szklankami Mlecznq Drogq (zdrowsza jest niz mleko krowie!) W nocy lubiq witac gosci, z psem Hultajem grywam w kosci, czytam lub dryluj q wisnie, poki dzionek nie rozblysnie.

Lepiej budzic siq w poludnie, Wtedy nie jest juz paskudnie;

Ptaszki wstaly, slonce swieci, MPO wywiozlo smieci.

A tak mowiqc miqdzy nami, jesli chodzisz spac z kurami, w koncu zaczniesz tak jak one znosic jajka na sadzone! [3, s. 15-16]

It`s so great t'be vigilant at night looking at the stars when they twinkle bright drinking Milky Way by the glass, (it is healthier than cow's milk, alas).

I like greeting guests at night, with my rascal dog play cards,

Reading, drilling cherries out Before dawn is breaking out

So much better to get up when it's beautiful, when the sun and birds are up and the dustmen have cleaned up

And if you prefer, my dear lying down at dusk, hens like you will once wake up with them laying fried eggs, oh my

The poet Ula enters into a dialogue with Agata's text, by continuing the topic and the manner of its presentation - the poetics, style and language, that is the self-characteristics of the Early Bird, while representing habits contrary to him:

Zawsze wczesnie wstaj q z lozka, sen zostawiam na poduszkach i wesola jak skowronek spieszq witac nowy dzionek. [3, s. 17]

Early always I get up leaving my dreams pillowed up and as happy as a lark I say hello to the world.

The hypertext makes even direct reference to the night owl (in 2 person sing):

Rankiem jest naprawdq cudnie. A ty wstajesz, gdy poludnie i dwunasta juz wybila. Prawie caly dzien stracilas! Potem siedzisz do polnocy. czytasz ksiqzki, psujesz oczy. Lecz juz dosyc! Swiatlo gaszq! Bo ja jestem ranny ptaszek!

Mornings can be really bright. Rise at noon and you sure might. Lose the whole day. Then you stay up late midnight reading's bad for your eyes, so stop, lights off I'm an early bird!

The two texts in question definitely form a whole. In the original they both hale six 8-sullable stanzas with a ceasura after the fourth syllable , they both end with a summary of the arguments mentioned earlier, and the intertextual play they use serves the purpose of contrasting both attitudes.

The texts entitled O narodowosci bocianiej, czyli skandal dyplomatyczny

[Abort the stork nationality or a diplomatic scandal] also consists in intertextual play: Agata Widzowska-Pasiak's poem Rajskie zycie [Life in Paradise] and Agnieszka Frqczek's Nie ma jak w domu [Home, sweet home]. The initial fairy tale situation introduces the problem: “Jakie ma poglqdy bociek? Znow niektorzy sq w klopocie!/ Sprawa nie dose oczywista... -To domator? Czy turysta?” [3, s. 58] [What are the stork's views? They many confuse. We don't know, if he likes home or prefers to fly away] The hypotext responds:

Tam, gdzie ziemia jest czerwona, buzia czarna, osmalona, gdzie lew ryczy juz o swicie, ma nasz bocian rajskie zycie!

Bo w Afryce upal bucha, bocianowi w brzuszek dmucha, a w tym brzuszku sq frykasy: knedle z zabq, ananasy.

Zas tu, w Polsce, deszcz za deszczem, w dziobie pusto, w grzebiecie dreszcze, zaby chude (same gnaty), gniazdo trzeba brae na raty.

Where the soil is red and the faces black where the lion roars at sunrise there is Mr Stark's paradise

Sweltering heat in Africa the stork can hardly carry his belly, full of treats, Noodles, frogs and berries

Here in Poland it is raining cats and dogs so empty beaked storks on shabby frogs feed, taking out a nest on mortgage

Lepiej bockom w dzikim buszu niz w Wqchocku czy Olkuszu! [3, s. 59]

So much nicer is the wild bush than is Wachock or Olkusz!

Agnieszka's hypertext makes reference to the opening line of Brzechwa's: “Wybiera siq sojka za morze i wybrae siq nie morze” [The jay wanted to go abroad but it never left the home] and describes the other side of stork's nature and habits:

Bocian nie sojka: lubi podroze. Zimq wyjezdza nawet na dluzej - zwiedza zamorskich ptakow podworka foreign yards he's visiting, i gdzies w tropikach wygrzewa piorka. warming up his feathers in the tropics [3, s. 60-61]

A stork is not a jay: he does fly away.

He likes winter travelling

But the stork, a traveller “wnet zaczyna tqsknie za domem. Pakuje plecak, zabiera zonq i odrzutowcem do Polski wraca. A tu bociana juz czeka praca. Gniazdo wymaga remontu pilnie, [...] - piqknie tu bqdzie - klekocze rad - gdy bocianiqtka przyjdq na swiat!” [3, s. 60-61] [soon starts missing home, so he packs his suitcase, wife and flies quickly home./ Here he has his work/ and the nest needs urgent mending, [...], before the young come.] The last stanza is a culmination of the whole story:

Dlatego bockom, rodem znad Wisly, nie w glowie takie dziwne pomysly... Bocian po polsku gada: „kle, kle”, bo jzyk zulu w dziobie brzmi zle, polskq wies kocha i polskie miasta. On jest Polakiem. Koniec i basta!

That's why Polish storks Don't get crazy thoughts. They go Polish “kle kle”, do not speak Zulu slang Polish towns and countryside They love best, bang bang.

His intertextual play is primarily didactic in nature. It becomes an interesting lesson of ornithology.

A different example of the dialogic startegy are the texts entitled Gdzie raki zimujq? Czyli spiqcie lekko uszczypliwe [Where the crayfish winter or an argument] by Agnieszka Frqczek. This time the fairy tale situation is an invitation to an intertextual game: “Gdzie zimujq rakow zgraje?/ Nie wiem.../ A wam jak si? zdaje? [Wescie udzial w nowym sporze,/ to dowiecie si? ... (byc moze)” [3, s. 88]. [Where do crayfish winter, you reckon? You may well find out if you join the little fight”]

So far the poets have had literary arguments among themselves, now they are proposing the reader, who has gained some experience in this kind of play, to take part. For this reason crayfish texts are rather flexible, tell-whatever-you think, paedeiocentric texts, which explain the meaning of the proverb [“to show someone where the crayfish winter” is to strike back]. The hypotext Hotel “Podszczypawkq" [The Earwig Hotel] explain the metaphorical, traditional meaning of the phrase, which is a warning of revenge.

Dzisiaj rano w autobusie ktos si? zloscil: - Ty nygusie! [.] Lepiej odsun si? na mil?, bo inaczej juz za chwil? ujrzysz, gdzie zimujq raki!

Today morning someone Went mad on a bus:

Get off, lousy bagger Or I'll show you where crayfish winter

Nygus na to ze spokojem:

- Raki.? Jakos si? nie boj?. Droga pani. bez obrazy. ja widzialem tysiqc razy. gdzie zimujq te prozniaki. [3, s. 89]

Uff. nie znosz? fajtlap takich!!!

Show where crayfish winter? He responded calmly. My fair lady, where they sleep, those lazy bones I have seen a thousand times.

The further story has a paidial character [6], and the protagonists exhibit child habits:

Powiem pani: otoz raki lubiq wyspac si? w komforcie?

Kazdy wciska si? w pizam? (w zlote rybki haftowanq), mleko pije na dobranoc, Mowi „czesc” i idzie spac. A wic czego si tu bac!

I will tell you something.

Crayfish like a good thing

They all sleep in golden fish pyjamas,

Drink up milk, say “bye' And turn in. So why fear?

The Gdzie raki zimujq? [Where the crayfish winter] text is not signed with any name, so it can come from any reader who feels invited to the intertextual play. It consists in an answer to the question posed in the title, which makes the child's understanding of the phrase more specific.

Gdy nadchodzi sroga zima, nic juz rakow nie powstrzyma. Ty lem idq w dwuszeregu... Dokqd idq? W przod, kolego! [3, s. 90]

When the winter comes Crayfish just move on. They tread double rows Backwards. Where? Head on!

In agreement with the poetics of a quarrel, the crayfish from the hypertext have opposing needs: they go forwards and „i nie w glowie im pizamy - tak sypialo siq u mamy!” nie przyjdzie im do glowy, aby mleko pic od krowy” [3, s. 90]. [do not think about pyjamas this is how you slept at mama's they don't want to drink cow's milk]. It is now a child who speaks, a child who attempts to dissociate form the mother as it makes the first steps towards independence:

Zimq raki idq zgodnie tam, gdzie wiszq dlugie spodnie: zdarte dzinsy, cud biodrowki, szarawary lub bojowki.

Tylko to, co wlasnie modne, jest naprawdq rakow godne.

In the winter crayfish walk together peacefully where they trousers see: worn out jeans old hip - huggers galligaskins, combat trousers. What is always really trendy crayfish sip like their brandy.

The protagonists are interested in youth fashion, which is a definite symptom of growing up. The topic of both poems is just a pretext for a conversation concerning their problems, and this in fact was the aim of inviting the young reader to play.

The analyses presented enabled naming the basic intertextual dialogue strategies used by the poets, as well as proving that their creative endeavors bear the character of an intertextual game. As mentioned before, the play has an interpersonal character: Agnieszka, Ula i Agata, authors of the hypo- or hypertext, as well as the potential young readers participate in the play.

The strategy of active continuation refers mainly to the topic, but also to the creation of the prototype of the same protagonist or subject, but with opposing qualities. The created world of the hypertext introduced a reverse picture of a given phenomenon, while constituting a semantic whole with the hypotext. The creation of an opposing axiological aspect in the hypertext often takes the form of stylistic reminiscence or form restitution.

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