In the first part, ‘Visions’, a pattern of interpreting Western philosophical thought, as an attempt to deal with the problem of axiological catastrophe, is outlined. In the second part, ‘Vastness’, the author tries to show how far human speculative thinking (metaphysical thinking) can be extended, regardless of whether the ‘vastness’ that human metaphysics aims at is realized one way or another. The third part, ‘God’, deals with the relationship between the concept of God and the concept of metaphysical vastness. The fourth part is called ‘Cradle’ and its intention is to show that in comparison with real or only possible metaphysical vastness, the world in which we live is a kind of beginning of an infinite life, and therefore serves as a cradle. In the last part, entitled ‘Fullness’, some ideas are proffered to show how the eternal life of such entities as human persons may appear against the background of metaphysical vastness.

The Apocalypse of St. Jana delights with the richness of eschatological content. However, the eschatological themes of the Apocalypse are not a frequent subject of scientific study. The reflections contained in this article take the form of methodological guidelines. They concern the process of interpreting the eschatology of Apocalypse. The Apocalypse should not be interpreted in isolation from historical and literary research. It should also not be interpreted in isolation from ethical research. It should also take into account the specific nature of prophetism of the Apocalypse. Eschatological contents contain an important place in this book. In order to interpret them properly, it is necessary to note i.a.: eschatological dynamics of the Apocalypse; the ambiguity of some symbols; the relation of eschatology to christology and ecclesiology.

Published in 1904, Jolanta: A Dramatic Poet in One Act by Edward Leszczynski is – like Atlantyda, one of his later dramas – a celebration of love, vitality, and life. Both works are saturated with the symbolic profusion of the Pre-Raphaelites. In Jolanta the glowing spiritual and symbols, inspired by the paintings of William Holman Hunt, are used to communicate the horror of a solar apocalypse punctuating a deadlocked argument. An eschatological reading of the drama, proposed in this article, puts its apocalyptic ending in a new perspective.