This article discusses the issue of musicality in 'Wesele' (Wedding), one of the most well-known and admired dramas of Stanislaw Wyspianski (1869-1907). The point of departure is a typology presented by Andrzej Hejmej, a Polish contemporary literary scholar. According to its premises, the musicality of a literary work functions at three levels: firstly - in the so-called syllabic instrumentation (use of syllables aimed at a particular sonorous effect) and in prosody, secondly - on the level of the thematisation of music (the various ways of its presentation), and thirdly - as related to the use of form and musical techniques. In 'Wesele' the music manifests itself on all three levels. The easiest perceptible ones are instances on thematisation, which are to be observed as many musical allusions, quotations, or - simply - descriptions of music. One can also perceive the musical (acoustic) and prosodic qualities of the text of Wyspianski's drama. While giving an individual shape to the utterances of particular figures, he endows them with musical qualities, using such typical poetic devices as the previously mentioned syllabic instrumentation, various rhythms and rhymes, and alliteration. Musical features may also be discerned in the construction of the drama, which, as one would expect, reveal the impact of the Wagnerian concept of recurring motifs. Wyspianski often transforms his text not only on the pattern of the development in a sonata form, but he also elaborates it, in a way bringing to mind the technique of musical variations. The richness of the sound-phenomena in 'Wesele' shows clearly that music constitutes one of the integral and essential elements of this drama.
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