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- W37626155 abstract "The great variety of images, allusions, and types of dramatic devices used in Stanislaw Wyspianski's Wesele has been a major factor in creating the strong popular and critical interest shown for this play since its original ap pearance. However, the critics have often been so overwhelmed by this vari ety that they have failed to see the unifying principles behind it. One critic, Wilhelm Barbasz, has gone so far as to say that Wesele is a mish-mash of themes from Slowacki's Krol Duch, which could easily do without the frame of Rydel's wedding.1 But Wesele is not constructed in a haphazard manner. Its organizing principles are carefully implemented throughout the play. Wesele is a symbolist play, but the devices which Wyspianski uses in pres enting the symbolism change often. In this article I will examine three events in Wesele which radically transform the play by causing and justi fying major changes in the types of dramatic devices used to effect the sym bolism. From this point on I will refer to these events as the three major transformations of Wesele. These three transformations occur with the respective entrances of Rachel, the Chochol,2 and Wernyhora. Many critics have noted the importance of these three characters, and some have recognized that their entrances consti tute turning points in the play.3 But in the writings of these critics, no seri" @default.
- W37626155 created "2016-06-24" @default.
- W37626155 creator A5030535244 @default.
- W37626155 date "2016-01-01" @default.
- W37626155 modified "2023-09-27" @default.
- W37626155 title "THE THREE MAJOR TRANSFORMATIONS OF WYSPIAŃSKI'S WESELE" @default.
- W37626155 hasPublicationYear "2016" @default.
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