Just as it was fortunate for Polish cinematography that we had literature, literature that accompanied us, post-war literature that was rich, diverse and the topic of which, so to speak, was the same as our pain and our topic, that is, the war years, so, too, did our national literature accompany us Poles independently, a literature from which everything is born, from which we all come. The literature that is truly original, Polish and national is romanticism. When Poland lost its status as a nation towards the end of the 18th century, this status was replaced by artists, above all by literature, then by art and then by theatre. This was a period, the time of romanticism. I believe that’s the reason why struggles with this tradition, its acceptance or contradiction, attempts at its renewal is what really occupies each artist who tries to measure up against our Polish reality and express it through art. Stanisław Wyspiański’s ‘The Wedding’ is definitely among such works.