Łazarz (w) później nowoczesności
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Lazarus used to fascinate cultures mostly as the one who managed to return from the dead, the one who was called back from death, the only one who came back. He became an icon of return. Not only in painting but also in literature, including works by Dostoyevsky and Eliot. It is tempting to trace the Lazarus of late modernity. Among others, he appears in a poem by Przemysław Dakowicz. This whic could be connected with the character of the “Historical Lazarus” or “Lazarus of the Gospel” – his function of an “icon of resurrection”, a witness to God’s power – is outlined in the poem not as a fact but as an unfulfilled project. The poem reveals a painful split between the mission of a person and its actual existence. This which can be perceived by this person as a moral obligation, a kind of an imperative of conscience, remains something painfully unfinished in his life. Although resurrection appears in the character’s horizon of experience, it is mostly the experience of the Mystery, while the emphasis is put on the painful tremendum rather than ecstatic fascinosum. The poet portraits the protagonist during his attempts to work through a boundary experience evasive to empiricism, unable to be tamed and interiorized. The poem is an image of a struggle of a post-modern seeker of sense in an obvious nonsense of the thing we know as death.
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