Apollo i Marsjasz This song is by Przemysław Gintrowski and appears on the album Tren Że drzewo do którego przywiązany był Marsjasz Zbigniew Herbert. of Zbigniew Herbert, a poet who came of age in the immediate aftermath of the war in i Marsjasz” [“Apollo and Marsyas”] from Studium przedmiotu [Study of an . One hardly needs to extol the virtues of Zbigniew Herbert’s poetry. It is com . In ” Apollo and Marsyas” (Apollo i Marsjasz), e.g., the stanza odwraca glow? i widzi.

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As the augural deity, he is about to disappear because of a new religious system in which his rival, Apollo, controls prophecy. The extremity of his punishment-beyond human comprehension-does not exclude the possibility of sympathy. Through his prefatory remarks on the title of the poem, which define diesfasti and dies nefasti according to the restriction of public speech, Ovid points to the freedom of expression so vital to his own life and career before and during his exile Newlands Moreover, taking into consideration Herbert’s knowledge of mythology and his fascination with the ancient world, it is possible that he knew of Marsyas’s political significance in Roman culture.

To Herbert, poetry is never y Gasset’s “the higher algebra of metaphors,” or the “high noon of the intellect. Whether the com- petition between Apollo and Marsyasis a competition between absolute mqrsjasz ity and artistic autonomy or between the new prophetic deity and the old augural deity over the right to practice divination, it demonstrates how power influences, controls, determines, “metamorphosizes” the fate of those subjected to it.

Among the literature confiscated was an “authentic” prophecy calling for the institution of games in the Greek manner for Apollowhich the senate and elected officials would control. Marsyas served as a minister for Dionysus or Bacchus, who was identified by the Romans with their Father Liberone of three deities in the Aventine Triadalong with Ceres and Libera identified with Persephone. Herbert fills in this gap by imagining the moment before the Ovidian Apollo leaves the howling Marsyas and characterizing that moment as an opposition between aesthetics and reality, observation and compassion.


Marsyas played his flute, putting everyone there into a frenzy, and they started dancing wildly. Zbigniew Herbert, who refused to compromise his art by adapting to the precepts of social realism and publishing during the era of Stalinism seems to apolll learned from his Roman predecessor how to encode political messages through the language of myth.

Apollo i Marsjasz

Log In Sign Up. It is not through the repetition of the patterns of the past that a poet establishes a “classical”stance, but through a conscious attitude towards his poetic ancestors manifested implic- itly or explicitly in his works.

Finally, is there a place to practice the ethos of modernism- to deform, de-realize, and overall, de-humanize human experience-if the means of “aestheticization” problematize poetry’s confrontation with the tangi- bility, materiality, and incomprehensibility of what I have called “Marsyas’s howl”?

The string – if it is not a synexdoche of the lyre or the lute – marsjsz a symbol of new poetry, which results from twentieth century catastrophes, but does not totally reject classical tradition though compared to it, it is only partial and incomplete.

Therefore, for Herbert the Marsyasmyth plays a double role: The Muses [21] supported Apollo’s claim, leading to his victory.

It carries the name of Marsyas,the clearest of all Phrygian rivers. University of Michigan Marsiasz, In lieu of an abstract, here is a brief excerpt of the content: Without cookies your experience may not be seamless.


This is the awareness that poetic idiom belongs That no poet writes solely for his contem- porary audience has been proved by many a poet, including the uncompromis- ing Russian Nobel laureate.

University of California Press, Such studies address neither the full implications of Ovid’s versions of the myth, nor the iconography of Marsyas. Upon seeing Marsyas’smutilation, the tree and the nightingale undergo meta- morphoses that completely overwhelm their essential qualities: Later, however, Melanippides’s story became accepted as canonical [7] and the Athenian sculptor Myron created a group of bronze sculptures based on it, which was installed before the western front of the Parthenon in around BC.


Walter de Gruyter, p. Yet even this aesthetic choice, this particular way of dealing with the myth’s “inflammatory material,” can be read apoplo an implicit reminder of the limitations on civic freedom in Apolo Rome; it encodes a message about power imposing its own “augural authority,” a message which Ovid’s more sensi- tive readers could readily decode.

The description progresses from the past tense inquit, clamabat, erat to the immediacy of the present manat, patent, micant and from the im- personal third person to the second-“you could count” possis numerare.

Paistwowy Instytut Wydawniczy, It is mentioned, for instance, by Horace 9 I base the following review of Marsyas’s different “personae” marsjawz their functions on Small’s fascinating discussion of the historical transformation of the figure of Marsyas in Roman culture. While Ovid leaves room for a alollo concettoin Marsyas’s plea-“A!

Przemysław Gintrowski:Apollo I Marsjasz Lyrics

Significantly, Ovid places this version of the Marsyas myth at the end of an account of the surreptitious return of exiled flute players to the city of Rome cf. On one level, the poem presents the inability to reconcile the lived experience of suffering with the abstract quality of art.

If so, how could the writer bear witness to history so often the major function of post-war apolllo ture in Poland? Marsyas was sometimes considered a king and contemporary of Faunusportrayed by Vergil as a native Italian ruler at the time of Aeneas. In the second round, Apollo turns his lyre upside down and plays; he is then judged the victor since Marsyascannot do the same with his flute.