Hania Henryk Sienkiewicz Jeremiah Curtin 9781177402675 Books
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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Hania Henryk Sienkiewicz Jeremiah Curtin 9781177402675 Books
Hania is the title of an 1876 novella by Nobel Prize-winning Polish author Henryk Sienkiewicz. It is also the name of a collection of short fiction by Sienkiewicz published in English in 1897. As is usually the case with Sienkiewicz’s works, the ten short stories included in the collection were translated by Jeremiah Curtin. The selections are a mixed bag featuring subject matter that readers of Sienkiewicz’s better-known novels will find familiar. In fact, in some cases the pieces included here served as preliminary sketches for the author’s greatest novels.The title selection, Hania, is an autobiographical story, although likely embellished with Sienkiewicz’s Romantic flair. When an old family servant dies, Sienkiewicz assumes responsibility for the man’s granddaughter by welcoming her as a sister into the family. As time goes on, however, his feelings for her become more than brotherly. This story starts out as a very interesting glimpse into the privileges and obligations of a Polish nobleman. As the plot progresses, however, Sienkiewicz’s picture of himself becomes more unflattering as he behaves in stupid and petty ways. The story ends on an unsatisfying note of blunt realism uncharacteristic of the author.
A more successful effort is “Tartar Captivity,” a violent piece of historical fiction about a 17th-century impoverished noble who goes off to fight the Tartars in the Ukraine. This piece is a worthy precursor to Sienkiewicz’s famous trilogy of With Fire and Sword, The Deluge, and Pan Michael. Another good selection is the short story “The Organist of Ponikla” which eschews historical grandeur in favor of a more personal, intimate focus. “Lux in Tenebris Lucet” is another pretty good offering with a solemn atmosphere and poignant plot, but it settles for a rather easy religious ending. The volume closes with “That Third Woman,” an enjoyable comic piece about an artist who finds fame and fortune overnight, and the effect his newfound notoriety has on his love life.
The less successful entries include “Let Us Follow Him,” a rather dull retelling of the crucifixion of Christ that can be seen as a preliminary work to Sienkiewicz’s religious opus Quo Vadis. “Be Thou Blessed” is a blessedly brief Hindu fable that gratifies the Romantic’s taste for the exotic. “At the Source” and “On the Bright Shore” are both dreary romances which annoy with their unlikable characters and overdramatic touches. Lastly, in “Charcoal Sketches,” a municipal functionary schemes to force a rival into military conscription in order to make advances to the man’s wife. Though Sienkiewicz tries to be funny by satirizing corruption at various levels of government, the broad humor never gels with the unpleasant events, and the whole thing just comes across as mean-spirited and overdone.
Though the tone of these works varies from dreary fatalism to lighthearted comedy, Sienkiewicz’s devotion to Romanticism is evident throughout, sometimes to the point of detriment to the stories he’s telling. This is a long book, and over its course you start to feel bogged down with the pomposity of classical literary references, tortured artists, and inflexible codes of honor. When he starts to make fun of such pretensions in “That Third Woman,” it’s quite a relief, but that’s the last stop on an exhausting trip. Overall, there’s no denying that these short pieces are not as strong as Sienkiewicz’s long-form masterpieces. Only the most diehard of Sienkiewicz fans, seeking to consume his complete works, need bother with this collection.
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Hania Henryk Sienkiewicz Jeremiah Curtin 9781177402675 Books Reviews
Sienkiewicz ranks high as a story teller, historial and authentic period writer. His historical fiction helps us connect our lives with the daily work & pleasure, love & hardships, politics and struggles of eastern Europeans. A much overlooked part of modern civilization, the centuries old wars of Christianity are given new understanding. His touching romances, horrors of war-torn lives to his laughable intrigues of emerging socialism make for great reading and learning. I'm reading all of his works I can find. What more to ask?
This is a classic story from Henryk Adam Aleksander Pius Sienkiewicz (1846 -- 1916). He was a Polish journalist and writer who eventually specialized in historical novels. His novels are usually very pacifistic in nature, showing us the follies and pointlessness of war. This novel (more like a short story) was written about 1897.
The story is done entirely in the first person. It opens in a well-to-do Polish household, probably about the 18th century. The family servant, Mikolai Suhovolski, has just died. As was the custom, the employing family took care of the servant's burial and his will. Mikolai was the guardian of his granddaughter, Hania, because she was an orphan. In his will, Mikolai wills his guardianship of Hania to the son of his employer. The son's name is Henryk, and Henryk was all of 16 years old; Hania was 15 years old. This was perfectly acceptable back then, as women were considered personal property. Nevertheless, the family adored her, and gave her a social status equal to Henryk.
Henryk quickly fell in love with her. The trouble was that his best friend, Selim, also fell in love with her; and Hania was leaning towards Selim as her future husband. Henryk was so infuriated with jealousy that he challenged Selim to a duel. Selim felt he had no choice but to accept the duel because he loved Hania so dearly.
The interesting thing about this story is that although it seemingly takes place in the 18th century, the translator puts the phraseology in 16th or 17th century English. If one can get over that blunder, this is a beautiful love story -- a must have love story.
Hania is the title of an 1876 novella by Nobel Prize-winning Polish author Henryk Sienkiewicz. It is also the name of a collection of short fiction by Sienkiewicz published in English in 1897. As is usually the case with Sienkiewicz’s works, the ten short stories included in the collection were translated by Jeremiah Curtin. The selections are a mixed bag featuring subject matter that readers of Sienkiewicz’s better-known novels will find familiar. In fact, in some cases the pieces included here served as preliminary sketches for the author’s greatest novels.
The title selection, Hania, is an autobiographical story, although likely embellished with Sienkiewicz’s Romantic flair. When an old family servant dies, Sienkiewicz assumes responsibility for the man’s granddaughter by welcoming her as a sister into the family. As time goes on, however, his feelings for her become more than brotherly. This story starts out as a very interesting glimpse into the privileges and obligations of a Polish nobleman. As the plot progresses, however, Sienkiewicz’s picture of himself becomes more unflattering as he behaves in stupid and petty ways. The story ends on an unsatisfying note of blunt realism uncharacteristic of the author.
A more successful effort is “Tartar Captivity,” a violent piece of historical fiction about a 17th-century impoverished noble who goes off to fight the Tartars in the Ukraine. This piece is a worthy precursor to Sienkiewicz’s famous trilogy of With Fire and Sword, The Deluge, and Pan Michael. Another good selection is the short story “The Organist of Ponikla” which eschews historical grandeur in favor of a more personal, intimate focus. “Lux in Tenebris Lucet” is another pretty good offering with a solemn atmosphere and poignant plot, but it settles for a rather easy religious ending. The volume closes with “That Third Woman,” an enjoyable comic piece about an artist who finds fame and fortune overnight, and the effect his newfound notoriety has on his love life.
The less successful entries include “Let Us Follow Him,” a rather dull retelling of the crucifixion of Christ that can be seen as a preliminary work to Sienkiewicz’s religious opus Quo Vadis. “Be Thou Blessed” is a blessedly brief Hindu fable that gratifies the Romantic’s taste for the exotic. “At the Source” and “On the Bright Shore” are both dreary romances which annoy with their unlikable characters and overdramatic touches. Lastly, in “Charcoal Sketches,” a municipal functionary schemes to force a rival into military conscription in order to make advances to the man’s wife. Though Sienkiewicz tries to be funny by satirizing corruption at various levels of government, the broad humor never gels with the unpleasant events, and the whole thing just comes across as mean-spirited and overdone.
Though the tone of these works varies from dreary fatalism to lighthearted comedy, Sienkiewicz’s devotion to Romanticism is evident throughout, sometimes to the point of detriment to the stories he’s telling. This is a long book, and over its course you start to feel bogged down with the pomposity of classical literary references, tortured artists, and inflexible codes of honor. When he starts to make fun of such pretensions in “That Third Woman,” it’s quite a relief, but that’s the last stop on an exhausting trip. Overall, there’s no denying that these short pieces are not as strong as Sienkiewicz’s long-form masterpieces. Only the most diehard of Sienkiewicz fans, seeking to consume his complete works, need bother with this collection.
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