Czesławo Miłoszo ir Oskaro Milašiaus poezijos liudijimas
Witnessing the Poetry of Oskaras de V. L. Milašius and Czeslaw Miłosz

Summary/Abstract: In this article one develops the theme of “permission” of writing poetry, which is related with two personalities, French and Polish poets. The author discusses the genre of elegy with romantic flight and wise eroticism of literary mythology (which makes one succumb to reveries and rest at the same time) as developed by Hölderlin. The author also looks for answers to the relation between the Church and literature, Catholicism and science. The author raises the question if the apocalyptical warnings of scientists are grounded and if one has to react to such warnings. She also raises a question, why sometimes the life of an exile, when he returns to his native country, becomes marginalised (conceivably because of his aristocratic lineage, bookish reticence). The author looks for anarchist, swedenborgian and elitist symbols in the works of the both writers. She concludes that Oskaras de V. L. Milašius invited the “selected” to become more noble (in “Echo Noble”). To Oskaras Milašius the imagination of science and of a “non fractured” man, the writers who were guarding their secrets, were similar to the lightness of the initiated found in Mozart’s works. Le Lieu seul situé which is sometimes discussed by O. Milašius is that of style and of a researched word, like to Lord Byron. The encyclopaedism found in the works of O. Milašius represents sort of occultism and illuminism in a glassy style. His diplomatic-evangelical mission, his language of spring, of lakes and voyages, of violet vespers are at the same time the manner in which he performs his German translations and Nordic or Wagnerian interpretations. He is like an adept, the initiated of diplomatic salons, of international conferences and academies, who is like a sick tree and who is taking walks in the valleys in order to cure himself, or he is like a fool like the grass or like roses full of folly among the rich who live only to satisfy their desires in this Hell of Books (but for a man foolishness means injury). In the article attention is paid to the genre of habanera (séguidilla) which for the Spanish people means a strategic vitality, a combat against permanent writing. The sources of understanding the both discussed authors are Roland Dargelès (“Le Chateau des brouillards”), Ezra Pound, Antonio Machado, and Blaise Cendrars.

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