Romantic passions. A few words about the dualistic nature of drama
Romanticism is a demanding and turbulent time for drama, not only from the point of view of genology. On the one hand, the genre is assigned tasks from the top, philosophical and aesthetical shelf (Hegel, Schelling), and on the other, the audience, as usual, shows its appreciation by going with pleasure to the theatre to watch melodrama and its derivatives, which act as effective catalysts for emotions. If we add to this the split nature of Polish literature (starting from Romanticism, Polish literature exists on two levels — of émigré and domestic authors), everything that refers to Romanticism seems to be non-uniform and divided. Is it possible that dualism omitted theoretical reflection on drama? Were Romantic dramas intended to be performed on stage? Finally, was this duality supposed to help or hamper poetry (language), the very fabric of drama? This sketch is an attempt to answer the questions indicated above.