Abstract
Mickiewicz stay in Odessa is a biographical milestone that leads us to the problems of the genealogy of texts, cultural frontier and the identity of a romantic poet in imperial society and an alien mental environment. The period from the end of winter to November 1825 is indicative from the point of view of the psychology of transitivity, fundamental instability and the sensation of flying, hovering above the commonplace. The situation of inter-threshold, above the position in a rather traditionalist society, of course, reflects the psycho-physiological status of the politically unreliable Polish poet. He peculiarly mimics and appears in unexpected guises of a fluttering moth, a plucked flower, devoid of roots, not tied to tradition, environment, life, home in the broad sense of the word. Separation from the soil is fundamentally different from the temporary shelter and the accompanying type of self -identification. He is a stranger in the Odessa space, baseless for him on several parameters, primarily political and national-cultural. The situation of a gap, with a tendency to subject-material figurative materialization, emotional experiences, is aggravated by the play type of behavior. He consciously emphasizes his strangeness, putting on the mask of his not-his own and consistently fulfilling his intended role.
References
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