The article relates to the issue of the suffering body in Juliusz Słowacki’s drama 'Sen srebrny Salomei'. The first and the second part of the article are dedicated to the description of the main drama characters who are media of supernatural reality, and the analysis of the co‑existing worlds of human beings and spirits. The third part includes the interpretation of the ‘poetics of macabre’ and ‘theater of pain’, the phenomenon of vivisection and the ontology of ‘human remains’. The author reads Słowacki’s drama through the prism of Michel Henry’s philosophy of existence.
EN
The article relates to the issue of the suffering body in Juliusz Słowacki’s drama 'Sen srebrny Salomei'. The first and the second part of the article are dedicated to the description of the main drama characters who are media of supernatural reality, and the analysis of the co‑existing worlds of human beings and spirits. The third part includes the interpretation of the ‘poetics of macabre’ and ‘theater of pain’, the phenomenon of vivisection and the ontology of ‘human remains’. The author reads Słowacki’s drama through the prism of Michel Henry’s philosophy of existence.
One of the basic components of the world created by Juliusz Słowacki in his late works is the light. In the poet’s mystical work the light is closely connected with the sphere of the sacrum, which is directly unapproachable for the ghost imprisoned in matter. On the night April of 20th and 21st in 1845 the poet experienced mystical vision, so called vision of the fiery. God reveals himself to a passive subject not in the light, but in the fire, fiendish streak. The first part of the article is an attempt to answer the question why in Juliusz Słowacki’s mystical work God reveals in fire, which is fiendish streak, and not in sanctifying light. In the second part the position of colours in the Genesis universe and their relation with the light was described.
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