Roman Ingarden in A Book about a Human Being uses the term ‘tragic’ three times with regard to man. The article follows his understanding of tragedy. Its types include: the tragedy of an inner splitting, the tragedy of incessant struggle, the tragedy of non‑fulfillment, the tragedy of passing away, and the tragedy of guilt. Axiological loneliness turns out to be a feature of all types of Ingarden’s tragedy.

This paper analyses four Polish renditions of Aeschylus’s Agamemnon (first part of the trilogy Oresteia) – by Zygmunt Węclewski, Jan Kasprowicz, Stefan Srebrny, and Artur Sandauer – and attempts to trace in particular the manner in which the translators approach and portray Clytemnestra, an ambiguous and complicated figure, who exceeds the social frames within which she lives. A comparison of the four translations with the Greek text uncovers the different strategies chosen by the translators which, in turn, point to their reading of the play.

The purpose of this article is to indicate the most important aspects of the tragedy of human existence as they were encompassed in the philosophy of Emil Cioran. The first aspect is the non-existence of God and the consequences of this non-existence for man. With the disappearance of God, the consolation through the idea of salvation, the promise of life after death, and the meaning of existence also disappear. The second aspect is the fatality of the historical process. Man is the object of history rather than the subject. Progress is an illusion, as are utopias. The third aspect is Cioran’s perception of birth as a misfortune. We are born in order to die, but before we die, we must face suffering. Human is an abnormal animal. We are not able to maintain happiness. Doing evil comes too lightly to human beings and it is too natural. Consciousness is the fourth aspect of the tragedy of existence. Awareness is associated with suffering (and is a product of suffering). Awareness of having body is terrifying – and the awareness of inevitable death can be paralyzing for humans. Eventually there are two main ways of finding relief from the tragedy of existence, in the thought of Cioran: the idea of the suicide and laughter. They are effective, but to a small extent.

The concept of conscience is analyzed here in two different ways: the systematic and the historical-literary. As to the first, systematic perspective, I distinguish (in part 1) three levels of conscience and on every level I identify two opposite categories (conscience that is ‛individual’ versus ‛collective’; ‛emotional’ versus ‛intellectual’; ‛motivating ex ante’ versus ‛evaluating ex post’). In the second, historical-literary perspective, I analyze two literary cases of fictional characters usually thought of as being guided or affected by conscience. The first case is the ancient Greek tragedy and here I offer (in part 2) a comment on the Sophoclean Antigone and the Euripidean Orestes presenting them both as dramas that contain an exemplary formulation of the phenomenon of conscience. Although Antigone and Orestes express their main principles of action in apparently different words, I suggest (in part 3) the two poetical visions of conscience are equally based upon a highly emotional behavior called pathos by the Greek. Thereby I provide a reason, why ancient philosophers created a new concept of conscience intended as an alternative to the poetical vision of human behavior. The new philosophical concept of conscience was based upon an axiological behavior called ethos. I also coin (in part 4) a concept of the ‛community of conscience’ where I distinguish four ‛aspects of solidarity’ in conscience, namely, somebody’s own self, a group of significant persons, a group of the same moral principles, and a sameness of life. In the end I turn (in part 5) to a historical-literary case in Joseph Conrad’s last novel The Rover (1923), which provoked a lively discussion among Polish authors and seems useful as an illustration of several levels of ‛solidarity of conscience’.

This article is a critical reappraisal of Juliusz Słowacki’s translation of Calderón’s El príncipe constant (1843), which acquired a place of its own in Słowacki’s oeuvre and continued to attract a lot of interest throughout the 20th century. Its lasting appeal is due to its extraordinary unity of tone, dramatic construction and stylized language, which in effect, as some critics have said, out-Baroques Calderón’s Baroque original. This article analyzes this contention in detail and tries to answer the question what were the sources and reasons of Słowacki’s fascination with the 17-th century Spanish poet and playwright. The second part of the article deals with two of the 20th-century stage productions of the drama and the adapters’ handling of Słowacki’s text. The summary includes a brief survey of the treatment Calderón’s heirs accorded to his key trope perigrinatio vitae (‘life is pilgrimage’).