Page:Kościuszko A Biography by Monika M Gardner.djvu/12

THE ANONYMOUS POET OF POLAND (contd.) of his poems and plays were always soldiers, men of action, and in his most original work, the extraordinary Undivine Comedy, he levelled the most damaging indictment against the self-centred egotism of the poet that has ever been penned by a man of letters. And the bitterness of the portrait is only heightened by the fact that it was largely inspired by self-criticism; his letters and his life afford only too frequent justification for the recurrent comment of the mocking spirit in the play on the melodramatic pose of the hero: 'Thou composest a drama.'

"The Undivine Comedy, a prose drama, though prompted by the events of 1830, makes no mention of Poland. It is a double tragedy in which the central figure, Henryk, after wrecking his home life by his egotism, assumes the leadership of his class, aristocratic and decadent, against a communistic rising led by Pankracy, a Mephistopheles who is not sure of himself. Henryk goes down in the struggle, but his conqueror falls in the hour of triumph with the words 'Vicisti Galilaee' on his lips. The scenes from the domestic tragedy are strangely moving: the sequel, in which the influence of Faust is obvious, is chiefly noteworthy for the flashes of prescience in which the Walpurgisnacht of brutal, revolting humanity fore-shadows with a strange clairvoyance the outstanding features of the democratic upheaval in Russia. But it is a drama of hopelessness: 'the cry of despair,' as Mickiewicz called it, 'of a man of genius who recognizes the greatness and difficulty of social questions' without being able to solve them. The Undivine Comedy is 'the drama of a perishing world': it was only in his later works that Krasinski's belief in the ultimate resurrection of Poland emerged. In Iridion, another prose drama, we have his first direct appeal to his nation, though it is cast in the form of an allegorical romance, in which the men and women are rather symbols than portraits. The hero is a Greek in Rome in the time of Heliogabalus, Rome standing for Russia. Beginning with this drama, and increasingly developed in his later poems, is to be found Krasinski's abiding conviction that Poland's salvation consists in the abjuring of vengeance—that the political redemption of the world would be achieved by her sufferings, as mankind was redeemed by the sufferings of Christ. The agony of Poland was not regarded by him as merited for any crimes in the past. She was an innocent victim, and the greater the wrong inflicted on her, the greater was the chance of her ultimate victory. In what was the darkest hour of his life, in 1846, when the Galician peasantry, incited by Austrian propagandists, rose and massacred the Polish nobles and Austria annexed Cracow, he wrote: 'That last span of earth torn from us by the fourth partition has more than anything else advanced our cause. Every wound inflicted on something holy and good becomes a far deeper wound, by the reflection of