Bluźnierczy krzyk Kasprowicza wobec Lautréamonta (pararela)

Abstract

The article is a parallel formulation of theodicea in Hymny {Hymns) by Kasprowicz and Les Chants de Maldoror {Maldoror’s Songs) by Lautréamont. What binds both poets is their rebellious attitude. Their work is permeated by dialogue with cruel God who created hell on earth for a hope of salvation. What the poets share is taking up the subject of evil, investigating its reason, relations between God and evil, iquiring about God’s existence and function. The analysis of the poets’ religiosity shows instrumental approach towards religion and ethism as well as prometheism as similar attitude. Confrontation of Hymny {Hymns) with Aeschylus’s Prometheus desmotes {Prometheus Bound) let us point the analogy of Kasprowicz’s work with ethism of Prometheus. Comparing the excerpts from Les Chants de Maldoror {Maldador’s Songs) and Hymny {Hymns) we see some similarity in rebellious attitude towards sacrum. There is analogy, but not identity. Both poets express suffering, which leads not to harmony, but to a revolt. The subject of my description is the poets’ blasphemous imagination, therefore I am considering the question of the essence of blaspheme. Lautréamont and Kasprowicz are modern, they both perceive reality and a human being in an unusual way and their methods of representing distinguish them: Lautréamont’s method is surrealistic and precipitated, Kasprowicz’s one is a mixture of various and contrasting poetics and stylistic conventions with their estimating functions.