It's hard to overstate the significance of Adam Mickiewicz in Polish culture – his verse is memorised by schoolchildren, his name graces universities and cultural institutions, his ideas arguably continue to shape national consciousness, and monuments to the Romantic icon feature prominently in Polish history. The Mickiewicz monument in the heart of Kraków was taken down almost immediately after the Nazi occupation of the city, and its restoration was a sign of Poland’s resurrection after the war. The statue of the national bard in Warsaw was the site of student protests in 1968 following the forced suspension of a performance of Mickiewicz’s Forefathers’ Eve and helped spark demonstrations that united the general population against the communist regime.
So, while it’s not hard to understand why there are monuments to Mickiewicz all over Poland, it might not be so clear why he’s also honoured with a towering bronze statue overlooking the Seine in Paris or a commemorative plaque in Istanbul. That is, until one thinks about the life of adventure lived by the 19th century poet.
Born in Nowogródek (then part of the Russian Empire, and today located in Belarus – both Lithuania and Belarus are now home to numerous statues of the poet), Mickiewicz’s life took him all over the map of Europe. He spent time imprisoned in Vilnius (there’s a monument to him there too) and later mingled with elite progressive circles in Russia (yep, he has monuments there too). In 1829, he embarked on a grand tour of Europe, visiting Germany, Switzerland and Italy. He eventually settled in Paris, where he wrote and taught until the journey to Istanbul that cost him his life (a plaque marks the house in which he died).
Though life in Paris wasn’t easy for the poet, the city shaped Mickiewicz and Mickiewicz shaped the city. He composed verse on Paris and was active in Parisian social and literary circles. He was the inaugural chair of Slavonic Literatures at the College de France, and made a deep impression on those who witnessed his largely improvised lectures.
Having left his mark on the literary landscape of the city, Mickiewicz entered the physical landscape in 1929 when a monument to the poet was dedicated to him (it was originally designed in 1909, but its implementation faced a number of delays). The towering column, designed by Antoine Bourdelle, was financed by the Association France-Pologne and is topped by a statue of the poet. A depiction of a heroic Polonia is featured underneath him and the bas reliefs depict figures and text from some of Mickiewicz’s best-known works. Fragments from Mickiewicz’s Konrad Wallenrod are accompanied by images of Wallenrod with his sword, and the bard Halban with his instrument and a verse on captivity appears under people in chains. For a man so devoted to literature and nation, a monument featuring both seems a fitting tribute.