The aesthetics of the religious and the sacralization of “positivist” science – “idealism” (Adam Asnyk) and decadent religious poetry of early modernism (Stanisław Korab-Brzozowski)

Abstract

Religious images and motives in nineteenth-century poetry (particularly in the period of dominant Positivism) became gradually aestheticized and lost much their original symbolic impact. This was partly due to the consequences of Kantian philosophy that introduce a dichotomy between phenomena and noumena. Positivism was merely interested in the relation between objects belonging to the phenomenal world. Critical theology (D.F. Strauss, Ernest Renan) started to analyze religious symbols and New Testament stories from the point of view of history and (compared) myth, applying positivist methodology to the “humanities”. Poets wishing to recapture the religious potential (the “Holy”) of traditional symbols and ritual had to recontextualize them. The “sacred” does not reside in the symbols themselves, but it is transferred to the relation established by the individual between his position in the world and a symbol or ritual. The religious moment results from experiencing this “unrepeatable” relation (its unrepeatability being the condition of contact with transcendence, relating the symbol as phenomenon with the noumenal sphere that is present as a trace – the individually experienced symbol points to its absence). In Polish late romantic poetry (e.g. Adam Asnyk) the individualization of the experience of transcendence is impeded by the patriotic connotations of religious symbols and rituals that presuppose the experience of belonging to a (“national”) community (a “relic” of Polish romantic messianism, c.f. the aftermath of the January Uprising). The modernist poet Stanisław Korab Brzozowski succeeded in developing a poetic method of recontextualizing traditional religious symbols that allowed to show the incompatibility between the phenomenal and the noumenal sphere as an inner experience of a subject (e.g. a wooden cross stretching its arms to an empty heaven) as a direct reaction to Renan´s relativization of the Christian “Heilsgeschichte”, unmediated by Polish romantic messianism).