Object structure


Radziszewski, Stefan


Kulczycka, Dorota - red. nauk. ; Seul, Anastazja - red. nauk.


"Mów, niezapomniany Hiobie!". Portret cierpiącego Hioba (Kierkegaard - Wojtyła - Fedoryszyn) = "Speak, unforgettable Job!". Portrait of suffering Job (Kierkegaard - Wojtyla - Fedoryszyn)

Group publication title:

Scripta Humana, 10

Subject and Keywords:

Jan Paweł II, papież (1929-2005) ; Kierkegaard, Soren (1813-1855) ; Fedoryszyn, Jarosław (1955-2020) ; dramat polski-20 w. ; filozofia chrześcijańska - 19 w. ; inscenizacja teatralna


Portret Hioba proroka (Wojtyła), Hioba poety (Kierkegaard) i Hioba kapłana (Fedoryszyn) jednakowo rozwiązuje dramat cierpienia. Autorzy opowiadają się za zwycięstwem nadziei (Hiob "kocha to, co utracił"), przeciwko rozpaczy (Hiob "utracił to, co kochał"). Z oddali towarzyszą im nieśmiertelne słowa Hioba, niezapomnianego Hioba - proroka i poety: "ja wiem: Wybawca mój żyje, na ziemi wystąpi jako ostatni" (Hi 19, 25). Hiob zwycięzca nie pozwala, aby nadzieja umarła.


Job is the title character of the drama by K. Wojtyla and a character of the Repetition by S. Kierkegaard. Wojtyla presents a parable about the suffering that affects the individual, but also the whole nation and the world. Job`s longing to save the past happiness brings the final picture of the coming of the Messiah who is the only one to satisfy Job`s hunger for happiness. ; In the drama the elements of the biblical story are essentially repeated, but Wojtyla shows Job the as a prophet who, in dialogue with the young Elihu, is able to recognize the Messiah. Together they hear the "silent and painful Voice" and repeat the words that Christ speaks in Garden of Olives. ; What is important for Kierkegaard is the gesture of Job only, but the repetition is not a trivial event: the philosopher is interested in the repetition of Job who returns to happiness from the greatest darkness. The autobiographical narrative (Kierkegaard`s love for Regina Olsen) was interwoven into the poetry: a loving young man has to give up love to show fidelity to the poetry or to abandon the poetic path to family happiness. Kierkegaard creates a new Job who, in fact, is a poet. ; In the staging by P. Fedoroszyn, Wojtyla`s Job becomes a universal man of suffering who, especially during the war, asks mankind a question about fidelity and family. It is Job who goes out into the streets because in the street theatre convention the biblical hero encounters people who are immersed in the river of consumption and commerce. They have forgotten about the values of truth, good and suffering. For Fedoryszyn Job is a priest who sacrifices his life to participate in the eternal war of good and evil. ; The portraits of Job the Prophet (Wojtyla), Job the Poet (Kierkegaard) and Job the priest (Fedoryszyn) solve the drama of suffering equally. The authors advocate the victory of hope (Job loves what he lost) against despair (Job lost what he loved). In the distance, they are accompanied by the immortal words of Job, the unforgettable Job - the prophet and the poet: "I know: my Savior lives, he shall appear on the earth last" ("I know that my redeemer lives, and that in the end he will stand on the earth") (Job 19:25). Triumphant Job does not allow hope to die.


Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielonogórskiego



Resource Type:

rozdział w książce






Zeszyty Naukowe Uniwersytetu Zielonogórskiego: Seria Scripta Humana, tom 10




Biblioteka Uniwersytetu Zielonogórskiego