{"id":1453,"date":"2024-01-24T10:42:19","date_gmt":"2024-01-24T09:42:19","guid":{"rendered":"https:\/\/ebilet.mda.pl\/?p=1453"},"modified":"2024-05-20T13:43:58","modified_gmt":"2024-05-20T12:43:58","slug":"muzyka-a-literatura-wplyw-utworow-muzycznych-na-ksiazki","status":"publish","type":"post","link":"https:\/\/www.ebilet.pl\/now\/muzyka-a-literatura-wplyw-utworow-muzycznych-na-ksiazki\/","title":{"rendered":"Muzyka a literatura: wp\u0142yw utwor\u00f3w muzycznych na ksi\u0105\u017cki"},"content":{"rendered":"\n
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Czy wra\u017cenia muzyczne da si\u0119 odda\u0107 za pomoc\u0105 s\u0142\u00f3w?\u00a0<\/strong><\/h2>\n

Mo\u017cemy zastanawia\u0107 si\u0119 nad tym, czy da si\u0119 odda\u0107 ca\u0142e to ogromne znaczenie muzyki za pomoc\u0105 s\u0142\u00f3w, a tymczasem wielcy pisarze (i ci mniejsi tak\u017ce) robi\u0105 od od co najmniej kilku wiek\u00f3w.<\/b> Korzystanie z utwor\u00f3w muzycznych podczas opisywania \u015bwiata przedstawionego w ksi\u0105\u017cce dodaje historii nieco melodyjno\u015bci, dynamiki oraz \u2013 przede wszystkim \u2013 nastroju.\u00a0<\/span><\/p>\n

Jak mo\u017ce to robi\u0107? Chocia\u017cby opisuj\u0105c muzyk\u0119 i ta\u0144ce podczas wesela, jak to by\u0142o w “Ch\u0142opach”<\/strong> W\u0142adys\u0142awa Reymonta podczas za\u015blubin Jagny z Boryn\u0105. Albo dodaj\u0105c teksty piosenek i opisuj\u0105c emocje, kt\u00f3re towarzysz\u0105 ich \u015bpiewaniu, jak to mo\u017cemy zobaczy\u0107 w “Igrzyskach \u015amierci”<\/strong> Suzanne Collins. Podczas czytania mo\u017cemy sobie wyobra\u017ca\u0107 melodi\u0119 i nastr\u00f3j, kt\u00f3ry towarzyszy\u0142 bohaterom.<\/span><\/p>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/section>\n\n\n

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Klasyki literatury i zawarta w nich muzyka<\/strong><\/h2>\n

W wielu klasykach literatury mo\u017cemy “zobaczy\u0107” muzyk\u0119. Cho\u0107 czytamy jej opisy, tak naprawd\u0119 rozbrzmiewa ona w naszej wyobra\u017ani i dodaje lekturze przyjemniejszego wyd\u017awi\u0119ku, niemal jak \u015bcie\u017cka d\u017awi\u0119kowa w filmie.<\/span><\/p>\n

“Pan Tadeusz” Adama Mickiewicza<\/strong><\/h3>\n

“Poloneza czas zacz\u0105\u0107. \u2014 Podkomorzy rusza<\/span><\/p>\n

I z lekka zarzuciwszy wyloty kontusza,<\/span><\/p>\n

I w\u0105sa pokr\u0119caj\u0105c, poda\u0142 r\u0119k\u0119 Zosi<\/span><\/p>\n

I sk\u0142oniwszy si\u0119 grzecznie w pierwsz\u0105 par\u0119 prosi.<\/span><\/p>\n

Za Podkomorzym szereg w pary si\u0119 gromadzi,<\/span><\/p>\n

Dano has\u0142o, zacz\u0119to taniec: on prowadzi.”<\/span><\/p>\n

Ju\u017c w tym kr\u00f3tkim fragmencie mo\u017cna niemal us\u0142ysze\u0107 muzyk\u0119 poloneza i oczyma wyobra\u017ani zobaczy\u0107, jak bohaterowie zaczynaj\u0105 ta\u0144czy\u0107. Ka\u017cdy z nas cho\u0107 raz ta\u0144czy\u0142 lub chocia\u017c ogl\u0105da\u0142 ten taniec, wi\u0119c doskonale zdaje sobie spraw\u0119, jak to wygl\u0105da. W kolejnych wersach s\u0142ycha\u0107 tupanie but\u00f3w na murawie, cho\u0107 wszystko pozostaje tylko w sferze s\u0142owa pisanego.\u00a0<\/span><\/p>\n

“Czasem staje na miejscu, r\u0119k\u0119 grzecznie wznosi<\/span><\/p>\n

I \u017ceby mimo przeszli, pokornie ich prosi;<\/span><\/p>\n

Czasem zamy\u015bla zr\u0119cznie na bok si\u0119 uchyli\u0107,<\/span><\/p>\n

Odmienia drog\u0119, rad by towarzysz\u00f3w zmyli\u0107.”<\/span><\/p>\n

“Nad Niemnem” Elizy Orzeszkowej<\/strong><\/h3>\n

W powie\u015bci \u201eNad Niemnem\u201d w jednej ze scen ojciec i c\u00f3rka graj\u0105 dla go\u015bci Benedykta Korczy\u0144skiego. Opis samej gry przedstawia <\/span>subtelne podej\u015bcie do muzyki i delikatne traktowanie instrumentu, <\/b>kt\u00f3ry bohater unosi \u201ejak najmilsze dzieci\u0119\u201d. Jednocze\u015bnie tworz\u0105c muzyk\u0119, ojciec zaczyna \u0142agodnie\u0107, szlachetnie\u0107 i promienie\u0107. Dodatkowy efekt daje opis emocji s\u0142uchaczy, kt\u00f3rzy otwierali oczy ze zdziwienia.\u00a0<\/span><\/p>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/section>\n\n\n

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“Cudzoziemka” Marii Kuncewiczowej<\/strong><\/h3>\n

G\u0142\u00f3wna bohaterka, R\u00f3\u017ca, pr\u00f3buje zagra\u0107 na skrzypcach utw\u00f3r D-dur Bramhsa. J<\/span>u\u017c samo przygotowanie do gry pokazuje czytelnikowi ogromne emocje, poniewa\u017c R\u00f3\u017ca si\u0119 gor\u0105czkuje, dzia\u0142a pr\u0119dko. <\/b>Na pocz\u0105tku gra cicho, spokojnie, bez \u017caru. P\u00f3\u017aniej muzyka wyzwala si\u0119 z jej g\u0142\u0119bi, z jej emocji i przenika uczucia. <\/span>Samej R\u00f3\u017cy towarzyszy tyle emocji, \u017ce krta\u0144 p\u0119ka jej od \u0142ez. <\/b>Na koniec gry nogi jej dr\u017c\u0105 i odrzuca smyczek.<\/span><\/p>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/section>\n\n\n

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