Abstract
Adolf Dygasinski is a writer who can be called a witness of the transformation that began in literature at the end of the 19th century. His work, for most part, was connected with positivism, and it is described as such by the critics. But the fantastic prose addressed to young readers that he created clearly departs from this scheme. Wonderful Tales are examples of positivist trends that are broken by the conventions of modernism. Their author is recognized as a pioneer because the literature for children and young people had not yet been dominated by the new aesthetics and ideals that began to inspire both artists and the consumers of art in the 1890s. The analysis of various fairy tales written by Dygasinski and published in a book of poems departs from the existing conventions. This is expressed in the changes of the hero’s personality, partial transformation of the structure of the tales and the world presented, as well as the revaluation of certain ideas. Wonderful Tales are, therefore, a valuable source of knowledge about the crystallization of the phenomena that have become representative for modernist literature.
Highlights
Adolf Dygasiński is a writer who can be called a witness of the transformation that began in literature at the end of the 19th century
The fantastic prose addressed to young readers that he created clearly departs from this scheme
Wonderful Tales are examples of positivist trends that are broken by the conventions of modernism
Summary
Wprowadzenie prozy dla młodego czytelnika w świat konwencji modernistycznych (na przykładzie Cudownych bajek Adolfa Dygasińskiego). Dosyć późny debiut literacki Adolfa Dygasińskiego (rok 1883 – wydanie noweli Za krowę) doprowadził do sytuacji, w której pisarz zaliczany do pokolenia pozytywistów wydawał swe utwory wówczas, gdy zaczynały już być widoczne „wstępne objawy uczuciowości modernistycznej”[1]. Przykładem takich utworów są opowiadania Krańcowy, On i Psyche, powieści Pióro, Gody życia oraz zbiór prozy dla młodego czytelnika pod tytułem Cudowne bajki. W latach dziewięćdziesiątych XIX stulecia lektura przeznaczona dla dzieci i młodzieży zaczyna przeżywać swoistego rodzaju renesans, czego oznaki widać właśnie w zbiorze pisarza z Ponidzia. Cudowne bajki traktowane są dosyć marginalnie w pracach historycznoliterackich poświęconych ich autorowi[2] i zasługują na wielostronne interpretacje
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