Norwid’s “Christian Drama

Abstract

In the first part o f this article Norwid's concept and use o f the term “Christian Dram a ” are discussed. The author also connects the term with Mickiewicz’s understanding o f it as exposed in the well-known Lesson 16 o f his Parisian course on Slavonic literatures. Both poets use the word in a very broad sense , in opposition to the pre-Christian period as well as to the anti-Christian contemporary theatre. N o formal criteria such as literary kinds (e .g . a mystery play or a liturgical drama) seem to be taken into account by them.

Hence, all of Norwidian dramas may be considered and labelled as Christian, regardless o f their diversity. They all have in common the two basic constituents: the dramatic situation and the tragic hero. In each and every on e o f Norwid’s dramas, be it a mystery play, a tragedy or a high comedy, the hero has to cope with a powerful, aggressive and anti-Christian force, which eventually would kill him - but his is the final, everlasting victory. In every instance the hero incarnates the ideal man o f the eight beatitudes, being m e ek , silent, humble, poor, humiliated and se eking peace with his persecutors.

The thesis can be substantiated by a closer insight into some spec imens o f Norwid's dramas or, rather, by a more synthetized examination o f som e groups o f dramatic works. The latter issue seems more effectual. Ther efore , three categories are discussed in turn: 1. mystery-plays, 2. high-comcdies, 3. the „super-Shakespearean” tragedy on Cleopatra and Caesar.

Four o f Norwid’s early dramas (1845-1857) may be classified as mystery-plays; two o f them particularly well-known, being based on popular Polish legends: Wanda and K rakus. In both, as well as in the two others, the hero would perish, crushed by a h ostile power; howev e r , his death, which appears to be a voluntary sacrifice for the community, results in an imminent triumph.