Celem artykułu jest rekonstrukcja – z zastosowaniem metodologii kognitywnej1 – fragmentu Pockowego obrazu świata przez analizę funkcji dźwięku w jego poezji. Podstawę materiałową tej rekonstrukcji stanowi około 270 kontekstów interpretacyjnych, ekscerpowanych z ponad 400 wierszy poety (Pocek, 1980, podano skrót P i numer strony). Wobec tak bogatego materiału proponuję sproblematyzować rozważania i skupić się na wybranych funkcjach, fundamentalnych dla analizowanej poezji i myślenia tradycyjnego. Zasadniczą kwestią staje się opozycja binarna cisza – hałas, organizująca wiele wymiarów kultury (Leach, Greimas, 1989: 69-70; Stomma, 2002: 204-206; Kowalski, 2007: 67-73).
In the poetry of Jan Pock, a recognised peasant poet, sound is one of the basic building blocks of the creation of the poetical landscape. This creation uses the conventionalised associations, known to folk creation, but joins with them the metaphorisation characteristic for the phenomenon Pock. The space of Pock's abounds in different sounds, such as: the twitter of birds, their ringing and singing to people and to the earth; the singing of the earth, of the sun, of the plants, of the poet and his verses; the violin playing at daytime amongst the wheat, and the frogs and grasshoppers in the meadow at nighttime, the neighing of horses and some playing that is drifting in the sky, the bells ringing to the trees or during ressurection, etc. To such sounds one can also add: the sounds of the daytime crying- of a baby, the weeping of the wheat, the sighing of God, and all uncountable whispers, mainly the prayers said quietly by plants, the wind, the earth, the poet, or the farmer bent over his farmland, the farmland which is constantly rustling with corn trees, flowers and grass in Pock. In such a poetic landscape, when everything is quiet, predominantly at night and at noon, in the solemn moments of loneliness and creation, one can hear the beating of a human heart, also. The poetical pictures painted with the sound were used by the poet from Kaleń to display, in a synaesthetical and emotional manner, the fragments of the peasants' world. To recreate it is the aim of this paper. In this world, in the foreground come such phenomena and emotions as: the happiness in contact with the farmed land, with the full summer and the coming spring, the earth as a symbol of life, God the highest and close to the farmer at the same time, the mystical bond of the farmer with the earth and the plant world, the loneliness of creation and the mystery of dying.
