Abstract

This article examines ‘guitar poetry’ in Czech and Polish culture through a comparative analysis of two of its most prominent exponents, Karel Kryl and Jacek Kaczmarski. Drawing on close readings of their lyrics, the study focuses on the theme of self-referentiality in their poetry in relation to the perceived public reception and institutionalisation of their works, as well as the relationship to politics, ideology, and notions of freedom. Particular attention is given to how the authors reflected critically on being cast as the focal points for civil resistance in their countries. While both resisted mythologisation, their differing responses illuminate broader contrasts between the Polish and Czechoslovak opposition movements and traditions of lyric poetry. The article argues that guitar poetry functioned less as a vehicle of protest than as a medium for aesthetic, ethical, and existential (self-)reflection.

 

Keywords: Guitar Poetry, performance practices, bard, Karel Kryl, Jacek Kaczmarski, 'Protest song'

How to Cite:

Majer, D. (2026) 'The 'Protest Singer Myth': Self-Referentiality in the Guitar Poetry of Karel Kryl and Jacek Kaczmarski', Slovo 37(1). doi: https://doi.org/10.14324/111.444.0954-6839.2143