Miłosz i filozofia (jedności) sprzeczności
Miłosz and the Philosophy of (Unity of) Diversity

Summary/Abstract: Brzozowski and Witkacy, whom Miłosz initially (i.e. in his article “Limits of the Arts <Granice sztuki>”) rejected, may ultimately be regarded as those who inspired his own attitude. For Miłosz most crucial in Brzozowski’s views was praxis, contrasted with unilateral and stabilising pragmatism of various social groups, and simultaneously justifying changes of opinions and unique “betrayals” of oneself. Brzozowski, however, is situated not exclusively on the justifying the dynamics part of the cognitional archaic myth (the myth of Nature) or circular paradigm that corresponds to it. One may also accurately point out the connections with modern myth (the myth of God) commensurate with linear paradigm, the expression of which is effect-oriented work (situated by Brzozowski also in the domain of history). Witkacy’s point is similar in this respect. Alongside the terror of crash of solid values, Miłosz discerns (contrary to that) acknowledging the significance of art, the one and only opponent to automated society. Such Nietzschean connection (Socrates performing music) proves to be Miłosz’s permanent susceptibility for years.

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