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NARCISSUS IN A TRAGIC MASQUE: A DOUBLE AS AN EXTERIORIZATION OF THE SOUL IN LEO BELMONT'S STORY 'TAMTEN CZLOWIEK' (THAT MAN)

100%
Samborska-Kukuc D.
Pamiętnik Literacki
|
2005
|
vol. 96
|
issue 3
121-130
EN
In his story 'Tamten czlowiek' (That Man), Leo Belmont explores a popular in the romanticism and modernism theme of a double manifested in physical pathologies. A hero, suffering from a paranoid disorder, thinks that his own reflection in a well is his spiritual counterpart - a double - imprisoned there and suffering due to his personality split into the spiritual and the physical. The well is an exemplification of the soul hero of the hero, who - like Narcissus contemplating his reflection - turns to melancholia and self-admiration, and experiences innermost emotions mixed with a feeling of impossibility to comprehend the mystery of the double existence. Induced by hallucinations, he builds an odd and profound theory of the word's common doubleness which, in spite of its author's physical abnormalities, takes a shape of a manifested philosophical tractatus.
2

GOD AS A CHARACTER IN IGNACY KRASICKI'S ANIMAL FABLES

100%
Samborska-Kukuc D.
Ruch Literacki
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2007
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vol. 48
|
issue 2(282)
241-252
EN
In the poems of Ignacy Krasicki God hardly makes a conspicuous presence. Yet in spite of his natural aversion to lofty moralizing, his miniature fables in verse do contain some important reflections about God. Most importantly, He has not turned his back on creation, but continues to intervene in the human world. God never tires of opening men's eyes to their imperfections and vices, exposing their presumptuous judgement, punishing them for their excessive pride and greed for possessions or knowledge. Concealed in the character of Jove, and thus freed from the Christian stereotype, Krasicki's God seems to exemplify the Pythagorean maxim about the predetermined, limited nature of human cognition. Yet man is not utterly helpless. He can still depend on practical reason, his single instrument of perception, to shield him from ridicule and destruction. God's classical garb enables Krasicki to distance himself from the Christian concept of mercy or a worldview founded on sentiment and at the same time to adopt the protective masks of the animal fable and break free from the constraints of the traditional stereotypes.
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