published posthumously. Polish literature scholars Maria Janion and Kazimierz Wyka wrote that the body of his letters is, next to his dramas, his other major literary achievement; similar praise was offered by literature critic who argued that those letters are one of the crowning achievements of Polish Romanticism. Theater critic Jan Kott referred to the series of letters written by Krasiński to Potocka as "the greatest (yet unwritten) novel of the Polish Romantic period". Most, if not all, of his works, were published anonymously or under pseudonyms, to protect his family – particularly his father, a politician and administrator in Russian-controlled Congress Poland – from retribution by the Russian Empire, as his works were often outspoken and contained thinly veiled references to the political situation of contemporary Europe (in particular, of the partitions of Poland). Due to his decision to publish anonymously, to the end of his life he was able to travel freely between his family manor in Russian-controlled lands and centers of Polish emigré life in Western Europe (the Great Emigration), while others, including Mickiewicz and Słowacki, were forced to remain in exile in the West, banned from returning to Polish lands by the occupying powers. This led to his being known as the Anonymous Poet of Poland (the title of English writer Monica Mary Gardner's 1919 monograph, The Anonymous Poet of Poland: Zygmunt Krasinski). Critical assessment Polish literary scholar writes, in the Polish Biographical Dictionary, that Krasiński has traditionally been ranked with Mickiewicz and Słowacki as one of Poland's Three National Bards. Of the three, however, Krasiński is considered the least influential. Miłosz wrote that Krasiński, popular in the mid-19th century, remains an important figure in the history of Polish literature but is not on a par with Mickiewicz and Słowacki. Modern scholars generally agree that while Krasiński was in his time admired for his poetry, these did not age well. Polish historian of literature, , observes the contradiction regarding Krasiński's dramas and poems, the former which gained popularity with the critics, but not the public, while for the later, a reverse was true. He subsequently notes that over time, assessment of his dramas (and letters) overshadowed that of his poetry, which proved to be much less enduring. Segel likewise agreed that both Krasiński's poetry, as early as during the turn-of-the-century Young Poland period, came to be criticized as "vehicles for [an] embarrassing messianism" and as "amateur