Portret George Sand w „Kochankach z klasztoru Valdemosa” Janusza Krasińskiego – w kontrze do „Lata w Nohant” Jarosława Iwaszkiewicza?
Janusz Krasiński’s Portrait of George Sandin Kochankowie z klasztoru Valdemosain Contrast with Jarosław Iwaszkiewicz’s Lato w Nohant?

Summary/Abstract: The article discusses the portrayal of George Sand in Janusz Krasiński’s drama Kochankowie z klasztoru Valdemosa [The lovers from Valdemosa convent]. The uniqueness of Sand’s depiction in the contextof Polish culture relies not only on an empathetic reading of Sand’s biography (similar to her representation by Ferdinand Hoesick), but also on treating her as a serious writer. The article also juxtaposes this portrait of Sand with the much better known representation presented in Jarosław Iwaszkiewicz’s Lato w Nohant [Summer in Nohant]. The author of the article shows that the thesis which holds that these dramas could be treated as a theatrical diptych about the beginning and the end of the artists’ relationship is unfounded. In her opinion, the differences in the constructionof Sand’s character cannot be explained here by the different age of the same heroine, as they serve to convey divergent assessments of her character. The articleal so reflects on the reasons for the popularity of Iwaszkiewicz’s drama and the lack of wider interest in Krasiński’s drama, seeing the melse where than in their artistic quality.The article discusses the portrayal of George Sand in Janusz Krasiński’s drama Kochankowie z klasztoru Valdemosa [The lovers from Valdemosaconvent]. The uniqueness of Sand’s depiction in the context of Polish culture relies not only on an empathetic reading of Sand’s biography (similar to her representation by Ferdinand Hoesick), but also on treating her as a serious writer. The article also juxtaposes this portrait of Sand with the much better known representation presented in Jarosław Iwaszkiewicz’s Lato w Nohant [Summer in Nohant]. The author of the article shows that the thesis which holds that these dramas could be treated as a theatrical diptych about the beginning and the end of the artists’ relationship is unfounded. In her opinion, the differences in the construction of Sand’s character cannot be explained here by the different age of the same heroine, as they serve to convey divergent assessments of her character. The article also reflects on the reasons for the popularity of Iwaszkiewicz’s drama and the lack of wider interest in Krasiński’s drama, seeing them elsewhere than in their artistic quality.

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