Stańczyk
From Wikipedia, the free encyclopedia
The jester is the only person at a royal ball who is troubled by the news that the Russians have captured Smolensk. This event happened in 1514.
Stańczyk (c. 1480 – 1560) (pronounced [staɲt͡ʂɨk]) was the most famous court jester in Polish history. He was employed by three Polish kings: Alexander, Sigismund the Old and Sigismund Augustus.
Some historians suppose that "Stańczyk" was a diminutive of "Stanisław Gąska", the jester's true name. Others, however, maintain that Gąska was in fact Stańczyk's less talented colleague.
Stańczyk has been always considered to have been much more than a mere entertainer. He is remembered as a man of great intelligence and a political philosopher gifted with formidable insight into Poland's current and future situation. He used his job to criticize and warn his contemporaries by the use of satire. His witty jokes often pertained to current political or court matters. Stańczyk's remarks and jokes were preserved by numerous contemporary writers and historians, including Łukasz Górnicki, Jan Kochanowski, Marcin Kromer, and Mikołaj Rej who praised him for fighting hypocrisy in the name of truth.
The best known anecdote about Stańczyk is that of a hunting incident. In 1533 King Sigismund the Old had a huge bear brought for him from Lithuania. The bear was released in the forest of Niepołomice near Kraków so that the king could hunt the beast. During the hunt, the animal charged at the king, the queen and their courtiers which caused panic and mayhem. Queen Bona fell from her horse which resulted in her miscarriage. Later, the king criticized Stańczyk for having run away instead of attacking the bear. The jester is said to have replied that "it is a greater folly to let out a bear that was locked in a cage." This remark is often interpreted as an allusion to the king's policy toward Prussia which was defeated by Poland but not fully incorporated into the Crown.
[edit] Stańczyk as a symbol
Stańczyk became a popular historical figure in Polish literature after the partitions (1795). Some writers treated him as a symbol of Poland's struggle for independence, others provided him with rather Shakespearean traits. He appears in the works of, among others, Julian Ursyn Niemcewicz and Józef Ignacy Kraszewski.
[edit] Teka Stańczyka
In 1869 a group of young conservative publicists: Józef Szujski, Stanisław Tarnowski, Stanisław Koźmian and Ludwik Wodzicki, published a series of satirical pamphlets entitled Teka Stańczyka (Stańczyk's Portfolio). Only five years after the tragic end of the January Uprising, the pamphlets ridiculed the idea of armed national uprisings and suggested a compromise with Poland's enemies, especially the Austrian Empire, and more concentration on economic growth than on political independence. The political faction which adopted these ideas became known as "Stańczycy" (plural of "Stańczyk").
[edit] Stańczyk in the arts
Stańczyk was also one of Jan Matejko's favorite historical figures and he appears on a number of his paintings. Matejko, giving the jester his own facial features, created the popular image of Stańczyk that is familiar to most modern Poles. The painter always depicted Stańczyk with a very concerned and reflective look on his face, in stark contrast to his cap'n'bells and other jester's gear. Matejko's vision of Stańczyk influenced the way other artists, such as Leon Wyczółkowski, later depicted the jester.
The most notable appearance of Stańczyk in literature is in Stanisław Wyspiański's play Wesele (The Wedding) where the jester's ghost visits the Journalist, a character modeled after Rudolf Starzewski, editor of the Kraków-based paper Czas (Time), associated with the Stańczycy faction. In the play, Stańczyk accuses the Journalist, who calls the jester a "great man", of inactivity and passive acceptance of the nation's fate. At the end of their conversation, Stańczyk gives the Journalist his "caduceus" (the jester's marotte) and tells him to "stir the nation" but not to "tarnish the sacred things, for sacred they must remain." Thus Wyspiański reinforced Stańczyk's role as a symbol of patriotism and skeptical political wisdom.
