Grynberg, «The Jewish Theme in Polish Postivism.»

The Jewish Question in Poland was primarily not a jewish question, but a Polish one. 49 Anti - Semitism grew into a romantic vision of assimilation, but this proves also to be a vision. Then it became a steadily increasing tide of resistance for economic and psychological reasons. 49 The P period was the first real explosion of anti-semitism although it fought for greater education and work. It was more of a literary movement in Poland than it was a philosophical one. 49 Teh press was mostly negative although the lit painted Jews in terms of sympathy. Sometimes this was done by the same author. Swietochowski was one of these. 50 Thsi proved the ambiguity of the question. Jews in Polish lit were shown more than in any other slavic lit, but it shows the artistic needs were better than the artist. 50 Jews were shown as Poles or simply not in their own mileau or nationality. Prus also. 50 Prus did show some of the difficulties of the Jew that assimilated in Lalka. 51 Konpnicka also showed a Jewess' position and what she had to give up. 51 52 Orzezkowka shows jews in business like all other dishonest business men. However she looked more to the enlightened assimliated Jews as proof that they could become more Polish and that the peasnat Jews were just backward. 51 She saw jews keeping their culture as more fanaticism than realistic. 52 Jews had too much ritual overgrowth. 52 The problems she eposes is the backward gentry and the need to change. She sees the same thing for the Jews, but makes them mostly shallow characters. 52 She saw that Poles could learn from the Jews in resilience and patience, but was mostly utilitatian in the needs for the two groups to get along. 54 She doesn't quote the Talmund very accurately and mistakes the jewish rituals. 55 The first disappointment in jewish Question was the Pogrom in 1881, the second was jewish nationalism and zionism that she met in assimilated Jews. 56 She calls Yiddish Jargon. 56 She calls for a greater understanding of Jews and that they should not be expected to become something they are not as the Poles cannot either, however she warns against adopting a foreign culture for the Poles. 56 She sees the Jews as not an ethnic group or a race, but just a religious group. 56 She writes about the disappointment in assimilated Jews choosing not Polish, but presumably russian culture as the one they assimilate to. 57 The P movement to assimilate Jews failed and was destined to fail becasue they didn;t understand Jews. She still was probably the best friend that Jews had in world lit at that time and Jews did aid and still do Polish culture. 57

Opalski, Magdalena. "The Concept of Jewish Assimilation"

The problem of how to assimilate jews into the culture of Europe at that time is discussed and Walery Przuborowski's idea is to get them to marry into the families of nonjewish Europe. Intermarriage. 371 The question of Jewish assimilation in polish lit was fairly advanced when the P got a hold of it in 1870's. It was limited to questioning how the upper strata of Polish Jews only would join in. 372 the Question had been raised in 1821 for the first time in a novel only about this subject called "Leib and Sarah." it discusses the need for moral reform in Poland and with a combination of Jews and Polish aristocrats of the most enlightened caste took it up. 372 Assimilated Jews showed up in lit only in the 1840s. 373 they reached the zenith of debate in the 1860s when Wielopolski's reform gave then legal rights. It disintigrated in 1880s and so only the 70s had a decade of social ideology and literature to accompany it. The trend to speak of it in lit came about with the end of Romanticism and the beginning of the realist period. 373 the posistivist period and the discovery of Jews in literature marks a widening of social horizons in Polish literature. 374 They also left the gentry and wrote about the lower classes. In the 1880s the jews failed to assimilate and the realization of this fact helped cause the end of Positivism. 374 The P view was not the only side to the Jewish discussion. The uprising did not bring about a complete end to anti-semitism, but it did halt it a bit and even the conservatives understood that to speak in epithets was not socially acceptable. 374 P saw a future not independant, but also not utopian. They were more realistic in what they thought they could get for people's basic needs. The P looked for new ways to strengthen the entrapenurial and middle class elements in society and called on the jews to do that for them. However they didn't see an end without the total assimilation of the Jews. The jews that ended up as characters in the literature of the P period represent a great widening of Jewish characters in lit overall. they also gave greater visibility to the Jews in society and their culture and issues. 375 Writers drew on the enlightenment idea of the clash between modernism and traditions to understand the Jews. The result on the rest of the society to understand the Jews in order to address the Jewish Question was only moderate. 376 Orzeszkowa's Meir Ezofiwicz is emblematic of the P jewish lit that didn't address Anti-semitism. Jewish land owenership was quickly becoming the most talked about theme in Jewish lit. 378 Jews had the money and were taking advantage of the Poles inability to pay for their land. In Orzeszkowa's Eli Makowaer the promise to show restraint with the new rights given them is doubled by the Pole;s showing them the light of modern civilization. 378 ALthough the Polish authors showed them to be good people the jews were thr brainwashed of an oppressed cultural system. There is also little shown of the transition into the Polish world. 379 Jews were not shown to be too concerned with holding on to their traditions or having too many nuances that differed from Christianity. They were just different. 379 There was almost a dream of getting rid of Jewishness that only needed the light of modern education and Polish Culture ot cure. 380 Orzeszkowa and others didn't paint the Yiddish language in good terms. It was basically just retarded polish and laughed at. 380 Prus's Lalka shows a society that tries to reduce the new rights allowed to Jews. 381 The P press also had articles complaining of the speed at which the Jews were assimilating. 381 The Warsaw riots in 1881 saw the ending of the P illusions. Swientchowski wrote that the filure to assimilate was at the root of the problem and Orzeszkowa changed her position in an article a year after the riots. 381 She wrote about the dangers of assimilation and failed to see Jews as a separate nationality. Post 1881 the literture on Jews recognizeda more realistic view of anti-semitism impact on Jewish attitudes. It became rather pessimistic. 381 Jews in lit became more entrenched in their own cuture as a result. 382 Prus showsin lalka more strianed relations to come. The 1860s view of capitalism as a way to assimilate jews was short lived. 382 It began to show the devastation that capitalism and Jewish inclusion in the system would have on Poland. This marks a trend away from P to realism and naturalism. It was also less optimistic and more realistic if pessimistic. P showed the potential for gettingalong, but by showing the lack of Jewish nationality and opposition to yiddish it engendered a culture in the future that wouldn't offer such optimism again and lost an oportunity. 383

Krzyzanowski, Jerzy R. “Boleslaw Prus: 'A Mistake'.”

In "The mistake" Prus writes about the uprising, but he is able to do it in such a way that the audience know what he is writing about, without mentioning the time period. 34 He also uses an eight year old boy as the narrator which offers a bit of making strange. An old man is executed for treason and is innocent. rejection of romanticism and putting forth the P theory. 38 He is able to get across the feeling from twenty years before in his story and still is not able to simply write about it because of the Russian occupation. 39

Silbajoris: "Tolstoy's Aesthetics and His Art"

Chapter 1T's art is based on the reciprocity of reality and immagination. 14 Early on T fought with the idea that the space between the artists feelings and the world "out there" might be bridged by appealing to the reader's on imagination. 17 The question for T was to figure out how to make more than the educated man understand what he was trying to do in life and in art. This is part of the basis for his need to include only the art that infects all. 24 T distinhushes himself from Rouseau. R rejected all mankind and T only rejects the Christian. 33 T's feelings for R might be at the root of T;s infection theroy. he felt so strongly about what R wrote about that he felt that it was art and for anything else to be put on the same pedstal it must evoke in the receiver the same feeling. 35 T's need to find something for the non aristocratic, for the peasants in his art, began no later than in the Sebastople sketches when he discerns the difference between what the peasant soldier knows and the authories don't know about how to win the war. 36 There is a close connection bewteen T's religious revalaations and his aestthic ideas. 38
Chapter 2
T believed in the need for no education to understand true art and he got this in part from his work on Yasnaya Pol. where he worked with the children and they understood the beauty of nature, yet had not ed. 54 In order for someone to understand the art they too must live a certain quality of life and if they can then they will understand a certain quality of art - it is this quality of art that is the only true art 60 It is the 'wee bit' that t saw in the children's stories and he used himself when writing - the principle of the essential detail. 62 Thus in the writing where he used much more complex literary principles did he decide that they were worthless later in life. 62 For t change and continuity are a complex give and take that contiues in him forever. 67
Chapter 3
The third influence on t's arsthetics is the moral and phiosophical change he went through in 1880s. 68 that which kept him from killing himself is that which helped form his theory. 67 The same metaphysical despair T found himself in was what he wrote in Death of I.I. and in Levin's ending when he too wonders what he is going to do. 70 Instead of cosmic aloneness, T finds in writing the Confession the cosmic connectedness of it all and like Pierre in W and P he understands the world as he now needs to live it and how it all relates to it and him to it. 71 What T doesn't like in civilization is what t doesn't like in art - that it is constructed for and by the exploiters that have not held up their end of the bargain of civilization. 73 T also understood that which was simple as a very complex thing. the simplest art is the best, but it is in effect very complex. 76 T doesn't speak of Science and art in the same way that we understand them. He is talking about the great thrust of mankind toward greater moral and emotional force. 78 T's idea of art is not a thing, but a process, an act of communication, something that is happening. 81 The simplest feeling that creates art is like enstrangement - the act of making something conscious and strange something that is not because of its familiarity.Like Levin working the fields or Vronsky on the horse knowing inside him that somehting is wrong bewteen he and Anna. T's assessment of what is science is basically the same as it is for art - if it doesn't serve the needs of mankind then it is not science. 87 this is unfortunately not supportable by objective fact and is and ecoding of an attitude, not an assertion. 87 Unfortunately we don't really learn what is science or art from T because it doesn't allow for an analysis of itself. 87 The only three things that define beauty and art are based out of the life of christ - individuality, clarity and sicncerety. 96
Chapter 4
Art for him had to set a moral standard and serve the greater search for truth and could not regard it as an exercise in relativity. It also had to be found in the wisdom of the heart. 99 He sets out to defien art as it relates to our emotionss and develops it around our moral and universal responsibility. 101 The reason why we cannot use goodness, truth and beauty to define art is that they rest on the idea that what we see is based on something else or that they are defined by those in power. 103 T looks at art as an sctivity and thus is not what it is, but what it does/ 107 Because T used the theory that art must be immediately recognizable and the upper classes don't have this in them necessarily, but the peasants do, then it also becoemes a question of which class understands right and wrong better - religion becomes a question of class. 112 true art, like everything else deals with life itself and not with the recording of its traditions. 113 T's three most anit-sex works, Ressurection, KSonata and the Devil were all being completed at the time He was working on WHat is Art. 126 If you follow enough of T's arguments they all come around to describe T more than anything else. It is an intense and powerful statement of Self-realization and functions like his art. 133 He defends his own ancient morals against civilization.
Chapter 5
T is Simonson in Resurrection. He is alone and concentrated in purpose to convery they image of truth universally and sincerely and his commitment he calls love. 134 A pilgram listening for the simple people to the voice of god. 135 He sets himself as alone standing between god and Mother Earth. Silbadoris speaks of Olenin from Cossacks as looking at art. 137 T is this same pilgrim trying to figure out what his purpose displays this in Waht is Art. 138 Also in War and Peace when the soldiers break into spontaneous song. 139 And Three Deaths. 139 And Natasha's dance in W and P. 140 The opera and Ts; estrangement also. 141 Resurrection compared to Shakespeare and the disharmony of a play or non-play on words. 144 AK and her premonition compared to King Lear - T dispolays the heart of a person really in panic, not jsut a play. 145 Wagner and Levin as artiface. 147 KSonata and hate and music - it is false and engenders passions. 149 Society is the same ocnstruct of artiface as seen in WandP and AK. 150 AK as the end of human omunication. 151 Mikhailov in AK speaks as T on art and falsty. 152 In T there is little lit, but a lot of painting and music. In AK there is even a Vronsky to show what false art is. 153 Art in AK is used to show how much Vronsky maybe loved AK. 154 In W and P boris and Julie read Poor Liza, but it may just be any sad tale. 155 AK reading her English novel and the storm outside and she is tranported to another time - it is stupid. Her english happiness at Vronsky's estate show her heart and the bitter taste it left. 156 Her death is just living out an english novel. 157 AK's portait and her dying love are contrasted. 158 The paintings are there to show the lack of real heart. 158 Vronsky's painting shows how much he has her body, but doesn't know her soul. 159 Stiva and Pushkin and poetry. 160 T uses art to show what he thinks of people in his tales. 161 T was trying to dispell the idea that the world is us, and push that we are the world. 163 T works with metaphore not like other artists, but her infuses details to link up events where they will evoke the greatest emotional asssociations for ther reader and the character. 169 This is Levin in the grass and prince Andrei wehn he is injured and is similar to Pierrre's watery globe. 169

Balestrini “Art and Marriage"

N hated the later period of Tolstoy, but loved AK. He thought that the same great man was speaking in both of these, but when he chose to be a simple philosopher he was neglecting and forsaking the great artist that he was. 63 N felt chagrin with T using literature as a didactic tool. 63 T got the inspiration for the story from a friend that was told the story on a train like in the story. T also was with him and heard the KS played and decided to combine the two in to one story. 64 T heard about othe writers' views on marriage and sexuality in marraige with childbirth. The need to be clebate during the pregnancy. All of these came into his work and influenced him. T wanted the work to be useful to people and hoped that it would be. Nabokov never had this aim. 66 Similarieties betewen T's and N's stories. 67 Pozdneshev echoes T belifs that music can bring about feelings that cannot be controlled and thus music should be controlled in certain cases by the authorities so that it doesn't have a harmfull affect on people. 71 It seems to be no more than a stimulous - response operation and people cannot help but react in a certain way. Nabokov gives people the chance to involve ethics with aestethics and not react in a proscribed way. 72

Wyspianski "The Wedding"

Lots of history and art is referenced in the play that is one of Poland's greatest drama's ever written. 9 He is considered to have been a part of yound Poland. 12 He oppossed new romanticism and the cult of the bards. 13 The play is a satire on society and the manners in the beginning. The wedding is only the frame for the play. it is really a play about Crakow and the cultural center of poland and the writers view of Poland. There are many allusions to Dante and the tale of a descent into a kind of Polish Hell where the tortures are the myths of history and literature. 14 The play also plays on the szopka - a Polish puppet show. The play also uses Mickeiwiecz' Dziady to a great degree.16 There is a Jew and talk of nationality and also a woman, rachel, the daughter of the Jew that is said to be a modern woman. 50 Many people at a wedding dancing and hitting on each other with poetry. A man Czeric fights with others. The young girls just want to dance with the groomsmen. the poet is trying to get with everyone. Scene 7 Journalist and Stanczyk talk rot about all kinds of things national and not. 99 The journalist then talks to the Poet and then the Poet to the Knight and at the end of it each want the other to hold his hand and the other comes out sad. The poet is now sad and thinks that his work is no good. 106 Then some ghosts come for the wedding and the beggar tries to scare them off. 112 Wernohora tells the host that he will have to set forth and mobilize the people and so the host decides to do this. the host had seen Wernyhora only in a dream the day before and now he stands in front of him. 133 The bride married a man outside her class - above her and now everyone is telling her that she will miss the country and her father. She doesn't have that much to talk about with her husband so she cannot even imagine what they will talk about or how their life will end up. 155 The poet asks the bride if she knows where and what Poland is and she answers that she doesn't know, but he tells her that it is in her heart. The revolt is rising, but the host, the man who headed the call from Warnyherna doesn't remember it from the night before. The men are gathered outside and Czerpiec is mad nothing is happening. The bride tries to get everyone to calm down, the groom doesn't understand what is happening. 180 They all gather and the host remember what happened the night before and what he needs to do, but he lost the horn and is left listening for the cock to crow. Janciek lost the horn, but the chochiol comes to him and tells him to take their scyths and guns and leave them dance while the chochiol plays the violin and mesmerizing them with music. 195 the cock crows, but no one hears it because of the music. 198

Kasparek: “Two Micro-Stories by Prus”

Mold of the Earth
A man is shown spotches in the dirt by a botanist. The botanist explains that they are not visible to the eye, but they are tiny societies and wage war and move and conquer and live their lives. The man says that they are like human societies a bit. The botanist says no, they have no souls, art, communication, etc. Then years later the man sits down at the same spot and sees the spots agian and the botanist shows up. they are transported to a school room and the botanist shows the man the globe and the many splotches of life. The man asks "is it the history of mankind" the botanist nods and the man asks where the art, culture and souls are and the botanist laughs at him. The man asks who the botanist is and understands that who is by his melancholy and mockery - Satan? This is Prus' first dealings with writing from Spencer's ideas of "Society as Organism."
Shades
Lamplighters bustle about at twighlight lighting all the lamps in the city and then disappearing like shades. Where do they go? Where do they come from? The N tries to find out, but never sees his lamplighter and then only finds out after he dies that he is in the cemetrary, but he was too poor and no one can show him where the man's grave is. Is Prus the lamplighter that no one knows and wants to know? These were written during some of the more pessimistic years of Prus' life after his journal shut down and the general poor situation in Poland. 99

Reymont: "Wampir"

Zenon is a man that awakes in London in a hotel 3 days after he receives a letter with an inexplicable message to follow, but not ask. He wanders around and cannot remember anything from the last 3 days, but meets up with a friend Daisy. She calms him, but later when he begins to follow her around and she doesn't seem to be herself. He follows her to an abandoned house and follows her into it and gets lost in the dark. His mind is filled with images of the unknown until he finds himself in front of Satan and he is conducting some rite. Daisy seems to be sacrificing herself for him and so she is devoured by her own panther. Zenon ends up outside and has a great feel for nature and starts hugging trees.

Naimark: “Warsaw Postivism"

Some of the results of the failed uprising was increased legislation by the Russians to get the Polish Gentry to fall in line with russia. they emancipated the peasants, forbade Polish language and opened russian schools all to rob the gentry of any power they had. 328 Thsi caused the peasants and the ruined gentry to flood to the cities where industrialization was taking place.
"The Political ideology..." The historiography of the P and the Proletariat are often at odds, but they actually had more in common than they are given credit for. The differences tend to be about the insurectionist vs nationalist view points. 329 organic Work 331 Polish P were not philosophers, but journalists, economists and sociologists. they were looking for a better way to define they society and build it and became enanoured with Comte's empiricism and scientism. 332 swietochowski. 334 Prejected much, didn't build. 334 P called on the gentry to come together and for the intelligentsia to form better ties with the peasants and to work for and with them. 335 The P was not for equality of the classes as were the socialists. they wanted liberal economic growth ahead of political growth. 336 Prus called for greater education for the worker who were economically poor, but also illiterate. 337 The P were very interested in factory conditions for safety and insurance against injury and sanitation. They were staunch capitalists that were not for minimum wages, but sought out greater improvements for the worker through the increase in economic power overall in the state. 337 Thus the P were very passive in the lives of the workers and did not speak for them as would the socialists. 338 The question is raised about the patriotism of the P. they were for quiet patriotism, the kind that spoke for itself out of improved conditions, but did not wave it from a flag pole. 338 The P were for an end to dreaming and a beginning of working. They wanted to forget about the insurections and get people to be look for internal independence. 339 They were said to have worked agaisnt every evil in Poland except the political and the Tsar. 339 the year 1876 brought the beginning og the socialist movement to Warsaw. The marxist movement came from Russian Marxism, but it spread more quickly because of the existing liberal positivist movement that already called every facet of life into question. They also made great use of his name and wrote about socialism in unflattering ways, but gave it more of an audience all the same. 342 The P attacked the role that socialism would play in Poland and how it would incite anti-semitism. 344 The Polish intelligentsia was looking for something new to attach itself to and the articles explaining the tenets of socialsm by the positivists gave them the info they wanted. Anyone not interested in P would gravitate to Socialism from the P articles. 345

Wampuszyc: “The Narrative of Noble Decline"

She writes about the noble decline and their relationship to money, so the peasants and the jews are not mentioned mostly as a part of the study. It is study of how a discourse on wealth became a discourse on money. 12 Polish money uses Polish and not Latin and they print paper money for the first time as need arose and as a sign of their legitimacy and nationalism. 23 Russian money in Poland after the uprising. 24 The 19th century Poland was still stuck in its Szlachta culture and even with the rise of the industrialization of the country it did not bring about a rise in new middle class, as it did in France, but just made the the nobles richer. 25 Religious thinking on money also influenced the lower classes especially, but Poland in general, from looking at money as a favorable thing. 27 Money didn't play a major part of literature in realism. It was shown that someone had it or needed it, but not in concrete terms. 30 With the death of Alex I and the reign of Alex II the loosening of laws agianst private organizations was met with the flood of organizations that started to meet with secret motives of independence. The combination of the tensions from arrests of poles and the drafting into the Russian armies of Poles caused the uprising. 98 The Russian response to the uprising was the stripping of the szlachti of their estates and with the loss of estates came the loss of economic independence, priviliges and prestige. 99 High taxes and the forced Russian language in the schools and business caused increased moves to the cities for the peasants and the gentry. 101 The peasants were freed in 1864 only after the uprising and showed the difference between the gentry and the peasants who were tied more to the land than they were to Polish nationalism. 102 The gentry were not compensated at the same rate as the Russian gentry and with the loss of land, workers and increased taxes the stress was even greater on the gentry. 103 The polish nation, that is the gentry relied on "language, literature and tradition" to support their nationalism - all of this was lost with the uprising. 108 The new press let go of the romanticism and traditionalism and moved toward positivism. The press was not overly Russian because of the lack of available materials in Poland and was thus able to continue in Polish. In the new press was written the new traditions of Poland after the insurection. 112 Defining the old tradtitions of the gentry. 112-119 Positivist response. 128 Work was a major goal of the P propigated in journalism and literture, but to get the gentry to work and the peasants to work in useful areas outside of agriculture was difficult. 129-135 P lit had a new hero - one that worked instead of the old gentry. 136-137 Prus wrote and believed in the P ideals as a "middle of the roader" and the need for all to work - not in the marxist sense, but for all to work in all spheres. 137 Society as an organism. 139 Prus as a novelist "emancipated" and defines his goals for poland. 151 Lalka as theory turned into action based on observation. 151-155 demise of the family after the uprising. 156 upholds capitalism 158 Emancipantki as the culmination of women's emancipation and the rise of the intelligentsia 160-167 Emancipantki Karolina Latter- genrty woman turned professional 168-175 Prus' Modern woman 175-187 Gentry to professional woman 187-191 The middle class in Emancipantki 191-198 Two faces of Usury. 198-202 Idealism and pragmatism. 202-210 Conclusions -Prus. 213-216

Konopnicka: "Urbanowa"

Urbanowa is a drunk cook in a house and she is constantly breaking the clay cooking pots. She cries a lot every time she sees her son. Her son comes daily and speaks the the narrator-girl. He is a shoe maker's apprentice and is beaten for it. the girl sees it when Urbanowa bathes him. He plays the part of king herrod in a christmas play and Urbanowa sees this as the culmintaion of her life. She used to reference a poets name to gauge the date, but now references her son's play. She makes him put on his costume daily after the play and resite the lines. She dies eventually in front of her son wearing the costume and he is the one to cry now.

Orzeszkowa "Meir Ezofowicz'

Meir is a young man excommunicated because he does not follow the strict laws of the Jewish community in which he lives. He speaks out against the persecutions of other outlaw jews and for a more humanistic view. he also falls in love with a girl from the outlaw community. he is sent walking the world with the legendary book of teachings that his ancestor, the first to be ousted by the community, collected. The Jews is his community are not even vaguely assimilated into the greater country and culture in which their shtetle is situated and is shown when a nobleman comes to the rabbi and is not understood in his speech.

Blejwas "Realism in Polish politics"

Chapter 1
The question for Poland was whether to continue with the means that didn't work time and again, that is the armed insurection, or to start to work oranically to end the oppression. 4 Organic work had political overtones in the years after the third partition. 23 Many sought a new definition of independence in Poland.
Chapter 2
The first theories of organic work influenced the Warsaw positivist movement by Jozef Supinski. he was familiar with the writings of Auguste comte. 25 Had theories for a bloodless conquest by bringing the polish nation higher through liberalism. he wanted to free the peasants and to get the lazy gentry to work for agriculture and to come up with new ideas for the betterment of Poland. 26
Chapter 3
Romanticism and the other old policies that glorified nationalism and "the Christ of Nations" had to be rethought. affect on Jews in Warsaw and in the Pale. 59 Rejection of romanticism and the look to English liberalism to replace it. 68 Buckle as the beginning of the search for a new world idea to replace romanticism. 70 The beginnings of the term positivism used to describe the Polish movement. 71 Polish positivism. 72 Supinski's theories are revisted. 73 Literary journals for domestic growth - weekly review. 76 The journal against the gentry's habits. 79 Positivists agisnt romanticism. 83 Literature. 84 Swientochowski as Positivist. 85
Chapter 4
Peasants new emancipation at the heart of the early P movement. 89 Attempt to help the uneducated peasants through the clergy. 90 Turn to agrairian education first. 91 Attempts to get the gentry to work for the peasants, though they figured the peasants would always be peasants. 92 Work was at the heart of the Positivist movement. 94 need to keep the bourgiouse at the heart of the future of Poland. 96 Knowledge is power. 97 Education is key. 99 Jews were foreign, but should become a larger part of Poland. 99 female emancipation. 101 education for women. 102 Secularization of society. 104 A national idea. 105 Shortcoming of P. 107
Chapter 6
Prus began to satirize the ideas of the P. 109 Industrialization made the scions of business the leaders in the things wished for y the P. 112 This made the P less relavent, but merely supporters of the economic changes that had been taking place from the top down. 114 Literature. 122 Prus. 122 He combined P with realism and naturalism. 123 The Doll. 124 The realities of the changing world for the positivists. 125
Chapter 7
P as a political movement. 135 P as moving away from Comte. 138 Pravda polish newspaper as a step toward politics. 139 Emphasis of internal educational development in sujugation. 142 143 144 National survival first. 145
Chapter 8
The end begins for PP. 147 148 Socialism builds. 148 Socialism upholds the workers and rejects the bourgiouse and the harmonious world espoused by the P. 150 Swientochovski rejects socialism. 150 151 Positivists fight back agaisnt the internationalism and non-nationalism in Poland. 159 P find out their world is crumbling. 161 162 Literature by P for the workers. 164 Prus on P. 168 169 Socialist react to Prus. 169 Socialism and P alike. 172 P rejected because it rejected antagonizing the tsar. 174
Chapter 9
Positivism was given a new spin in the attempts to keep it alive and rejected the optimism of prus. Anti-semetism was also growing. 175 There also began a new growth of poeple looking to actively gain independence from Russia. 178 The growing problems that the working class faced and the growing nationalims did not help the P cause. 180 Glos and anti P journal began and although it agreed with P in many ways it was agianst it in others. P was pro capitalist, and didn't seek out the peasants. 183 P was a-political which didn't help it as the world changed and became embroiled in socialism. 185 Swientochovski started writing against capitalsm and gave up on organic work. 186 187
Conclusions
Comte's philosphy 189 Polish Positivism 190 191
Afterword
Why are the P relavent? 194 Why it failed? 206

Friedrich "Prus and the Dryfus case"

Short history of the Dreyfus Affair. Espionage wrongfully accused and imprisoned. Later pardoned, but not officially. Anti-semetism. 272 Prus wrote a weekly column and spoke of the affair as one that upheld the possibility that he is innocent and should be pitied. Prus wrote about many things in his column - The woman question, The Jewish and the peasant question. 273 he first writes that only during moments of a clear head should one take on such matters, but then a year later writes in very assertive form that the case was not so bad and perhaps France was right. he seems to hold the state above moral considerations and has great support for France even though Emile Zola has been writing against its actions. 275 Prus attacks Zoila saying that the defense of the country and the moral and discipline in the army are worth a couple of innocent deaths. 277 Even after the results were in and the French gov and army stated their guilt he was simply silent. 279 Prus was a supporter of Jewish assimilation, but through this case clearly saw them as a foreign nation among the homelands of Europe. The author of the article thinks that that the case did note change Prus's ideas on Jews and assimilation, but it shows perhaps what his misgivings were, despite being one of the foremost positivists and writers on the Jewish Question. 281

Morska, Irena. "Polish authors of today and yesterday"

In 1863 there was one final attempt to free the country from the tyrrany of occupation, but it failed and in it was lost the last of poland's aspirations to independence. In this defeat, literature came out as usual as the barometer of the people's will. In it was represented the acknowledgment that the people had material needs and wants and that only by attacking the very foundations of the evils in society could they hope to correct the wrongs. 10 Education, attacks against illiteracy, against ignorance and fanaticism were fought against by the new generation. It was called the positivist movement to separate it from the romanticism movement and sought to find out why poland was so miserable. Th movement sought to find out about the common man and found cultural ties that united all poles. The writers did not always give an answer to the problems they found, but they were good and displaying the problems. 10

A new social class was being formed at this time with the advent of greater industry. This coincided with the spread of socialist ideals. When the ideas of the west joined the revolutionary conditions in Russia they found action in Poland. The blood shed in Russia was also shed in Poland and the beginning of the 20th century brought about a new type of culture and literature called Young Poland.

Sienkiewicz is best known of the authors outside of Poland. He wrote his trilogy about the wars Poland fought against occupiers in the 17th century. Prus wrote about the Poland he knew and the people that were in it during his life. He was able to show the changing of the times and the weakening of the landed gentry. Oreszkowa wrote about the problems with women's emanicpation and the life of Jews in the country and the hatred they had to endure. She was a supported of education for the peasants. She wrote about the political collapse after the 1863 revolt and felt that literature must serve a political means. Zeromski wrote at the beginning of the 20th century and was the 'conscience of poland.' He felt and wrote about the misery of Poland and his heroes are lonely, persecuted by hypocrasy, thoughtless laziness and drowning of a sea of hopelessness in which the best ideas go to waste. His heroes are doomed. He wrote about the glory of the history of Poland's past. Reymont wrote much about lodz and the country.

Baranczyk "Positivism and neo romanticism"

The defeat of the january insurection generated a distrust of the romantic ideology and undermined the authority of the romantic bards. There was a general shift away from poetry and toward realistic and naturalist fiction and drama. maria Konopnicka was one of the most vocal proponants of the social reform in the spirit of positivism. she wrote in defense of the oppressed and used folklore and speakers from the lower classes. The last decade of the 19th century gave way to poetry again - sometimes called young poland, modernism or neo-romanticism and was influneced by the western symbolism and philosophy. 958