Wolność słowa poetyckiego a wolność poety. Mickiewicza oraz filomatów gry i kolizje z prawem (w Wilnie i na zesłaniu)

Abstract

The article is divided into four parts. In the first two, the author focuses on the analysis of the improvisation ["Ledwie z długiego wytchnąłem pienia . . . ") assigned to Adam Mickiewicz (1827) and Pride over the French Graves [Duma nad mogiłami Francuzów) by Jan Czeczot (1818). In both poems which were written and recited in Philomatic circles - respectively in the Vilnius times (Czeczot' s poem) and in the Russian exile (the Moscow improvisation of Mickiewicz) - strong patriotic and anti-Russian accents are manifested. None of them was ever submitted to censorship, either the academic one (supervised by the occupant's authorities) in Vilnius or the Russian state censorship. They both functioned orally and in writing. Interpretation of these works allowed to define the nature of Mickiewicz and the Philomaths' encounters with censorship and their attitude towards it, both before the Vilnius investigation conducted by Novosiltsev (until 1823) and during their exile in central Russia (after 1824). The last two parts of the text brings reflections over the way the author of Ballads and Romances [Ballady i romanse) perceived freedom of speech and independence of an artist. One of literary examples serving as background for this reflection is a poetic novel Konrad Wallenrod ( 1828). The last passages of the text treat about political reception (Novosiltsev's report) of Mickiewicz's poem and the role of aesthetic and ideological categories applied in it by the poet (poetics of the mask, romantic historicity, mystery, fragmentarism) in view of the subject of censorship and freedom of artists and poetry.