UKSZTAŁTOWANIE STYLISTYCZNE PIOSENKI O KOŃCKU ŚWIATA CZESŁAWA MIŁOSZA W KONTEKŚCIE DYSKUSJI O FORMIE POEZJI WSPÓŁCZESNEJ
STYLISTIC SHAPE OF PIOSENKA O KOŃCU ŚWIATA [SONG ABOUT THE END OF THE WORLD] BY CZESŁAW MIŁOSZ IN THE CONTEXT OF THE DISCUSSION ON THE FORM OF CONTEMP

Summary/Abstract: The thesis assuming that originality is one of the constitutive indicators of artistry sounds trivial. The manifestation of the mentioned attitude is to be found also in the most recent poetry. Its form ceases to be an instrument of interpersonal communication. The dominant type of imagery leads, in turn, to the situation where poems often change into asemantic „series of sounds”. Do we have another type of poetic discourse at our disposal? The analysis of Piosenka o końcu świata [Song about the End of the World], one of the most popular texts by Miłosz, undoubtedly confirms the foregoing statement. The poem dignifies the simplicity of message, which was intended. Moreover, it surprises with its ascetic form. Numerous sentences of Piosenka read in separation sound „as if they were taken out from a reading primer”. The author of Zniewolony umysł [The Captive Mind] may teach successive generations of writers to approach speech with economy and humility. Readers, in turn, are given the hope that interaction with modern poetry does not always mean being exposed to „męki wyższego rzędu” [preeminent torment] (Ars poetica?).

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