Ironia i mistyka. Doświadczenia graniczne wyobraźni poetyckiej Juliusza Słowackiego

Abstract

The main issue this study undertakes to solve is the question posed by scholars who analyzed the poetry of Juliusz Słowacki in the first half of the 20th century, namely, how could the most ironic poet of Polish Romanticism become a mystic? The author also tries to ascertain whether a poet engrossed in mysticism could still preserve his irony, and lastly - what happened to the ironic predispositions of the poet's imagination after his mystical transformation. In Chapter I, the author sheds new light on these issues. He points out the connections between Friedrich Schlegel's concept of romantic irony and his fascination with the philosophy of Plato and neo-Platonism (Plotinus), which present a dynamic view of reality and existence as opposed to the ideas of Aristotle. An important context of the theory of irony is the nineteenth-century discovery of the unorthodox theology and philosophy of such personalities as Master Eckhart, Jacob Böhme or Angelus Silesius, which in turn influenced the outlook of Fichte, Schelling, Hegel, and Schopenhauer. The interrelations of irony and mysticism, the author claims, are already visible in the early phases of the development of the German and European Romantic movement. The first, substantial part of the study (Chapter II) analyzes Horsztyński, Słowacki's unpublished drama. Irony is the main element of this work's esthetic structure; it also permeates the general viewpoint presented in the drama. It is a particular type of irony: unlike F. Schlegel, who uses irony to play with the reader by creating illusions and then destroying them, Słowacki 's irony aims at self-defeat. The writer creates a world in which all acts of communication end in fiasco, and speech, reading, and writing prove to be equally pointless. A multiplication and strengthening of irony in the drama creates the phenomenon of „ironic irony", to the negation of irony through more irony. Horsztyński is a drama of the „negative way to knowledge." Through it, the main character discovers his own entity, which later evolves into the mystical ,,I". The second part of the study contains an analysis of another ironic drama, 'Balladyna. This time, special attention is paid to the motive of death, one which plays an important role in Słowacki's works. Balladyna obeys the rules of the „theater of death" - ten characters die in the drama. At the same time, Słowacki's presentation of death is toned down, poetically euphemistic. The techniques and strategies of utilizing irony in this tragedy are different than those used in Horsztyński. The drama is prefaced by a letter of dedication addressed to Zygmunt Krasiński (the Ideal Reader), in which Słowacki gives hints as to the interpretation of his work by pointing toward L. Ariosto, Dante, Homer, the French poets, and Shakespeare. On the other hand, the drama is closed by an ironic epilog which questions all the knowledge gained by reading the preceding five ac ts of the tragedy. This ironic piece of art proves to be an incessant game between the creator and his work, between the poet and the reader, between Słowacki and his auto-ironic and melancholy self-portrait presented in the drama. Balladyna creates - as opposed to Horsztyński - a positive concept of romantic irony understood as a particular set of opinions, discourse, and type of creative energy. Słowacki creates an optimistic and ironic „tragedy" which he calls "bitter art." The third part of the book (Chapters IV-VIII) is concerned with analyzing Słowacki's mystical texts. These are short works in which the poet and mystic transforms traditional forms and ideas, such as the Credo (the Polish Wierzę...) or the calendar of feast days (Święta przyszłe narodowe). Słowacki notes down his visions and creates an unusual journal of his mystical meditations, dreams, and philosophical projects (Raptularz). The conclusions of this part of the book can be summarized as follows: 1 . Słowacki's mystical imagination springs from the neo-Platonic vision of the Cosmos. 2. The poet's ,,I" undergoes a deep metamorphosis. 3. In 1842 Słowacki becomes a visionary and prophet, and turns away from the role of poet and artist. 4 . In his mystical period, Słowacki rejects irony both as a viewpoint and as a type of discourse. 5. Where traces of ironic discourse do appear in his mystical works, they serve polemical purposes only (in discussions with Towiański or Mickiewicz). 6. The imagination of the poet retains its ironic predispositions, but the poetas-mystic does not wish to use irony any longer. The overall conclusion of the study is that there is no sharp division between irony and mysticism. An ironic „cleansing" of the image of the world was a necessary condition of the mystical metamorphosis of Juliusz Słowacki's personality. If he had not first worn the mask of ironist and individualist, he would not have become the mystical author of his personal Credo. [Przełożyła: Magdalena Paśnikowska]