The Image of Poland and Poles in the Poetry of Maksym Rylsky

Abstract

This article examines the creative reception of Polish experiences in Maksym Rylsky’s lyric poetry, resulting from his numerous travels to Poland, his interactions with Polish cultural, socio-political, and intellectual figures (including writers, literary scholars, linguists, and translators), and his study of the country’s art history through its most prominent representatives. Although Polish-Ukrainian relations and their literary reflections have been the subject of substantial scholarship in both neighboring countries, certain aspects of this issue remain under-researched, justifying further inquiry. The study aims to critically assess how Poland and Poles are represented in Rylsky’s lyrics, identifying his thematic priorities, the creators he focused on most intensely, and the specific ideas and emotions highlighted in his works dedicated to this fraternal nation. The research reveals that the author’s poetic impressions of Polish cities and regions are reflected in numerous poems, with prominent artistic representations of Warsaw, Kraków, Wrocław, and Zakopane. The Ukrainian poet
also evokes other Polish locales and historical echoes in works such as Z Lwowa do Użhorodu, Tatry, Puszcza Białowieska, Strona, Chwała rękom pracującym, Siła ludu, and Dziewczęta z Łysianki. Furthermore, Rylsky dedicates several poems to a broader, cultural-historical retrospective of Poland (e.g., Do Polski, Polsce, Do Polaków). The most significant portion of Rylsky’s Polish poetic reception is devoted to art history, particularly focusing on two great geniuses: Adam Mickiewicz and Frédéric Chopin. The poet frequently references his favorite works by Mickiewicz, including the epic poems Grażyna and Pan Tadeusz, as well as the Crimean Sonnets. Rylsky also directly characterizes this outstanding Polish poet by quoting his verses, evaluating his artistic craftsmanship, and describing significant biographical locations and figures from his circle. Finally, the article highlights how Rylsky frequently invokes the legacy of the renowned Polish composer Frédéric Chopin, whose musical output he held in the highest esteem.