Not all Poles stayed around to see how matters would develop after 1831. Already during the insurrection, some insurrectionists abandoned the Kingdom of Poland and made their way to the west. After the November Insurrection, a mass exodus of Poles ensued to France, Belgium, and Britain. There were so many Poles in western Europe that this came to be called the Great Emigration (Wielka Emigracja). The term wielka can mean large—which it was. Somewhere in the vicinity of ten thousand Poles became political émigrés in Paris and elsewhere. But wielka also means great. It was a great generation, comprised of the leading Polish intellectual lights as well as dedicated cadres of insurrectionists. Among those former were the great Romantic poets—the so-called Bards: Adam Mickiewicz, Juliusz Słowacki, and Zygmunt Krasiński. Mickiewicz, incidentally, had managed to escape from Russia to the west right before the November Insurrection.
Also in emigration was a young composer from Warsaw, Fryderyk (French: Frédéric) Chopin. Son of a Polonized emigrant from France, Fryderyk was in Vienna when the insurrection broke out and made the reverse journey. The young Chopin, whose musical genius would (among other things) popularize Polish dances such as the polonaise, the mazurka, and the krakowiak, channeled his anguished reaction to the loss of the November Insurrection into his famous, and moving, Revolutionary Étude.
Only in emigration did Polish Romanticism—in literature even more than in music—develop to its full potential. Polish literature of this period is interesting not only for its intrinsic value but for what it represented to Polish society in that period. When politics failed (as they clearly did in 1830–1831), poetry took its place. Poland went from being led by generals wielding sabers to generals wielding pens.
These newfangled generals led a cultural campaign. Their task was to produce a vibrant literary culture that would unite all the lands of the former Commonwealth as well as enrich the Polish spirit. Here the Polish Romantics were influenced by thinkers like Herder, famous for his conception of the Volksgeist, which can be translated as the spirit of the people or nation or as national character. In this vision, the people or nation was viewed increasingly as the common man.
This proved to be one of the most important periods of Polish literature, if not the most important (which surely could be argued). And Adam Mickiewicz—the young poet introduced earlier—is the most famous of the Polish Romantic poets. Indeed, he is the most famous literary figure in all of Polish history. Thus it is interesting to consider the opening line of his most famous work, the epic poem Pan Tadeusz. Expressing the longing of the émigré for the country he has left behind, it begins with the invocation, “Lithuania! My fatherland!” Writing in Polish, this poet who hailed from the territory of today’s Belarus, considered Lithuania his homeland. This suggests that this quintessentially Polish poet reflected ideas of Poland and Polishness that were hardly straightforward—ideas more redolent of the former Sarmatian, Commonwealth realm. Polish and provincial culture (brought to life in the Lithuanian landscape) were one in this depiction of a soon-to-be-lost Sarmatian idyll in its encounter with the transformations of the Napoleonic era. Indeed, it is a Polish peculiarity that national self-definitions were often forged at its margins—in the borderland realm increasingly referred to in the nineteenth century as the Kresy.
Paris proved a seedbed for all kinds of ideas about Poland’s past, present, and future. The émigrés were obsessed with “the Polish question,” a question not limited to the regaining of national sovereignty. Lacking independent statehood, Poles had to answer some other crucial questions as well. They increasingly had to choose, consciously, to be Poles, as this was no longer a choice of state identification. But what, then, was Polishness? How was one to define Poland, or who was a Pole? How to justify being—let alone becoming—Polish, in a world of imperial dominance?
Again, the poet spoke. Or, rather, wrote—although it should be added that Mickiewicz also spent the period from 1840 to 1844 lecturing on Slavic literature at the Collège de France, his lectures often electrifying his audience. Consider his Books of the Polish Nation and the Polish Pilgrimage. Mickiewicz believed that the Poles had a mission of universal significance. In his messianic vision, Poland was the Christ of Nations, suffering for the rest of the world. “But on the third day,” he wrote in true biblical style, “the soul shall return to the body, and the Nations shall arise and free all the peoples of Europe from slavery.” Mickiewicz also saw a special role for his nation in the Slavic world. The future of Europe lay with the Slavs—and the Poles, not the Russians, were Slavdom’s natural leaders, who would fight against the perceived evils of civilization.
Despite his liberal use of biblical phrasing, Mickiewicz’s Roman Catholicism was hardly orthodox. The Pole was conflicted in his relationship to the See of Peter. He, like many others, was outraged that the Vicar of Christ should side with the partitioning empires and condemn the Polish insurrection. Furthermore, Mickiewicz fell under the spell of Andrzej Towiański, a leader of a mystical cult; this experience did little to strengthen his connection to the Roman Catholic Church of his day.
Mickiewicz and the Romantics focused their attention, in exile, on the Polish nation, seeking to determine what in the Polish past was significant, and whether the nation had a historical mission. Theirs was an ideal vision of the nation, focusing more on the body politic—the potential masses of Poles—than on any future territorial incarnation. The Poland of the Romantics was one of the mind. They believed that their nation did have a mission, which was to bring universal freedom to Europe. In this mission lay all hope for Poland. Only if Poles fought for universal freedom could they be considered worthy of regaining independent statehood. Their national stance, thus, was an active and engaged one. The purpose of Polish Romantic literature, furthermore, was to embolden and inspire the nation as well as strengthen national consciousness, without which there could be no gains. In an age when generals wielding sabers had failed, the Romantics saw themselves as generals wielding pens.
Far Outliers 