The Undivine Comedy, 1835 edition The Undivine Comedy, 1837 edition The Undivine Comedy, 1923 edition The Undivine Comedy or The Un-divine Comedy, also The Non-Divine Comedy ( or Nie-boska komedia), is a play written by Polish Romantic poet Zygmunt Krasiński in 1833, published anonymously in 1835. Its main theme is sociopolitical conflict – in Krasiński's words, "[between] aristocracy and democracy". It is Krasiński's best-known work and is regarded as one of the most important works of Polish Romantic literature.
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Krasiński's best-known work is the drama Nie-boska komedia (The Undivine Comedy). In the 19th century, a still greater Polish Romantic poet, Adam Mickiewicz, discussed The Undivine Comedy in his lectures at the Collège de France, calling it "the highest achievement of the Slavic theater". A century later, another Polish poet and lecturer on the history of Polish literature, Nobel literature laureate Czesław Miłosz, called The Undivine Comedy "truly pioneering" and "undoubtedly a masterpiece not only of Polish but... of world literature", and noted how surprising it is that such a brilliant drama could have been created by an author barely out of his teens. Krasiński's Undivine Comedy effectively discussed the concept of class struggle before Karl Marx had coined the phrase.
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Worse still, if in this place one behaves unspiritually, in an undivine manner, contrary to the minimum requirements of the spiritual life.
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Krasiński began work on The Undivine Comedy in June 1833 in Vienna, and finished it in autumn the following year in Venice. It was published in Paris in 1835 anonymously, likely to protect the author's family from any repercussions in the Russian Empire, of which they were subjects. Krasiński's writings often contained thinly veiled references to current politics. Krasiński would later work on another drama related to The Undivine Comedy.
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He considered composing a trilogy, of which the Undivine Comedy would likely have been the middle part, but he never finished the project (the draft of the first part would eventually be published in 1852 as Sen. Pieśń z „Niedokończonego poematu”, wyjęta z pozostałych rękopisów po świętej pamięci J. S., and more extensively, posthumously as Niedokończony poemat – The Unfinished Poem in 1860). The entire trilogy was to have featured the same protagonist, Count Henry, called "The Youth" in the unfinished prequel, and "The Husband" in The Undivine Comedy. The play has been translated into more than a dozen languages.
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His works best exemplify the Messianic movement in Poland: in two early dramas, Nie-boska komedia (1835; The Undivine Comedy) and Irydion (1836; Iridion), as well as in the later Psalmy przyszłości (1845), he asserted that Poland was the Christ of Europe: specifically chosen by God to carry the world's burdens, to suffer, and eventually be resurrected.
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Bringer of Plagues is the second album by Divine Heresy, released in the United States on July 28, 2009. It's their first album to feature new vocalist Travis Neal and the only one to feature bassist Joe Payne. On June 3, 2009, two new songs from the album titled "Undivine Prophecies" and "Facebreaker" were posted on the band's MySpace page. It sold around 3,000 copies in the United States in its first week of release to debut at position No. 148 on the Billboard 200 chart.
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" One aspect of the Undivine Comedy that has attracted criticism is its presentation of Jews as conspirators against the Christian world order. Published in 1835, it was one of the first works - perhaps the first - in a string of modern antisemitic literature leading to The Protocols of the Elders of Zion. Maria Janion thus termed it a "tainted masterpiece". According to Agata Adamiecka-Sitek, this poses a significant problem today, as the work "is both canonical and profoundly embarrassing for Polish culture, on par perhaps with The Merchant of Venice in the western theatre canon.
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Some translators title the chapter as Daivasura–Sampad–Vibhaga yoga, The Separateness of the Divine and Undivine, Two Paths, or The Yoga of the Division between the Divine and the Demonic. According to Easwaran, this is an unusual chapter where two types of human nature are expounded, one leading to happiness and the other to suffering. Krishna identifies these human traits to be divine and demonic respectively. He states that truthfulness, self-restraint, sincerity, love for others, desire to serve others, being detached, avoiding anger, avoiding harm to all living creatures, fairness, compassion and patience are marks of the divine nature.
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Ben-Ami Scharfstein (1998), A Comparative History of World Philosophy: From the Upanishads to Kant, State University of New York Press, , page 376 Rig veda uses the word in two contexts, implying that there are two kinds of Māyā: divine Māyā and undivine Māyā, the former being the foundation of truth, the latter of falsehood.Sri Aurobindo (1917, Reprinted 1998), The Secret of the Veda, Volume 15, Sri Aurobindo Ashram Press, page 399, also see pages 225, 76, 89, 97, 512 Elsewhere in Vedic mythology, Indra uses Maya to conquer Vritra.Williams, George M., (2008). Handbook of Hindu Mythology, p.214.
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Zygmunt Krasiński (; 19 February 1812 – 23 February 1859) was a Polish poet traditionally ranked with Adam Mickiewicz and Juliusz Słowacki as one of Poland's Three Bards – the trio of Romantic poets who influenced national consciousness in the period of Poland's political bondage. He was the most famous member of the aristocratic Krasiński family. Early on, his main works were considered to be the poems Przedświt (Predawn) and Psalms of the Future, but in time he became more known for his prose works, dramas, and letters. He authored two major dramas, The Undivine Comedy (his most famous and enduring work) and Irydion.
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Having reunited with his father shortly afterward, they traveled together to Saint Petersburg, where he received an audience with the Russian Tsar. The elder Krasiński tried to arrange a diplomatic career for his son with the Russian Empire, but Zygmunt was not interested and was content to travel abroad again. In March 1833 he left Saint Petersburg and, visiting Warsaw and Kraków, traveled once more to Italy, where he would stay until 19 April 1834. This period saw the creation of what is likely his most famous work, the drama The Undivine Comedy (Nie-Boska komedia), written probably between summer and fall 1834.
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French text online. Louis-Nicolas Ménard's sonnet in Rêveries d'un païen mystique (1876) describes her as enchanting all with her virginal look, but appearance belies the accursed reality.French text online. Poets in English were not far behind in this lurid portrayal. Lord de Tabley's "Circe" (1895) is a thing of decadent perversity likened to a tulip, A flaunting bloom, naked and undivine... / With freckled cheeks and splotch'd side serpentine, / A gipsy among flowers.A Victorian Anthology 1837–95. The Kingdom of Sorceress Circe by alt= That central image is echoed by the blood- striped flower of T.S.Eliot's student poem "Circe's Palace" (1909) in the Harvard Advocate.
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4 is a key for understanding the character of the Dasyus: :Agni born shone out slaying the Dasyus, the darkness by the light, he found the Cows, the Waters, Swar. (transl. Aurobindo)Sethna 1992:114–115 and 348–349Which is translated by Griffith thus: Agni shone bright when born, with light killing the Dasyus and the dark He found the Kine, the Floods, the Sun. (trans. Griffith) Aurobindo explains that in this verse the struggle between light and darkness, truth and falsehood, divine and undivine is described. It is through the shining light created by Agni, god of fire, that the Dasyus, who are identified with the darkness, are slain.
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In another prose drama, Irydion, Krasiński again takes up the theme of societal decay. He condemns the excesses of revolutionary movements, arguing that motives such as retribution have no place within the Christian ethic; many contemporaries, however, saw the play as an endorsement of militant struggle for Poland's independence, whereas Krasiński's intent was to advocate for organic work as a means to society's advancement. His later works more clearly showed his opposition to romantic, militant ventures and his support for peaceful, organic educational work; this was particularly so in his Psalms of the Future, which was expressly critical of the concept of revolution. Krasiński began writing Irydion before The Undivine Comedy, but published it after the latter.
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Miłosz comments that, while Irydion is a work of considerable talent, especially in its insightful analysis of the decadence of Rome, it is not on a par with The Undivine Comedy. Krasiński's more mature work includes a body of poetry, but his lyrical poetry is not particularly notable; indeed, he himself remarked that he was not a very gifted poet. More memorable are his "treatises in the philosophy of history", especially Predawn and Psalms of the Future, influenced by philosophers including Hegel, Schelling, Cieszkowski, and Trentowski. Krasiński's rejection of Romantic ideals and democratic slogans which he felt inspired futile bloody rebellions, brought a polemical reply from fellow poet Juliusz Słowacki in the form of the poem, ' (A reply to the Psalms of the Future).. Krasiński was a prolific writer of letters, some of which survived and were published posthumously.
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Within a few years it received a French translation by . Based on the French translation, in 1868 Robert Lytton published a drama titled Orval, or the Fool of Time which has been inspired by Krasiński's work to the point it has been discussed in scholarly literature as an example of a "rough translation", paraphrase or even plagiarism.The Undivine Comedy was first translated to English in 1864 by Marthy Walker Cook (although she based it on earlier French and German translations), again in 1924 (by Harriette E. Kennedy and Zofia Umińska, with a preface by G. K. Chesterton), for the third time in 1977 (By Harold B. Segel) and most recently in 1999 (by Charles S. Kraszewski). Initially it was considered too difficult to be adopted properly into a theatre, and it was never staged during Krasiński's liftetime.
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