of the Krasiński family is the home of a . Works Themes Key themes in his writings include conservatism, Messianist Christianity, the necessity of sacrifice and suffering to moral progress, and providentialism. His relation to his father, who strongly influenced – indeed, controlled – many aspects of his life, is also seen as a major influence in his writings. Some of Krasiński's work contains antisemitic motifs. Political scientist Stephen Bronner argues that the Comedy is probably "the first work in which a Jewish conspiracy against a Christian society figured as the prominent theme". According to theatre critic Agata Adamiecka-Sitek, this aspect of the piece is still a sensitive topic in Poland, as the piece is "both canonical and profoundly embarrassing for Polish culture, on par perhaps with The Merchant of Venice in the western theatre canon".He differed from his major peers, Mickiewicz and Słowacki, in his vision of the future. Accepting the likelihood of democratic social revolution, he was much less sanguine about it than they; and so were his works, when they touched on the future. All Three Bards agreed the future would see major, likely violent changes. For Krasiński, the future held little hope for a better, new world, though his later works suggested the possibility of salvation – and of restoration of Polish independence – through a return to conservative Christian values. Works Krasiński's early works, particularly his historical novels, such as Agaj-Han, were influenced by Walter Scott and Lord Byron and extolled medieval chivalry. They are also deeply pessimistic. This gloomy atmosphere is visible in Krasiński's best-known work, the drama Nie-boska komedia (The Undivine Comedy), which he wrote around 1835, when he was in his early twenties. In the 19th century, a greater Polish Romantic poet, Adam Mickiewicz, discussed The Undivine Comedy in his Collège de France lectures, calling it "the highest achievement of the Slavic theater". A century later, another Polish poet and lecturer on the history of Polish literature, Nobel laureate Czesław Miłosz, called The Undivine Comedy "truly pioneering" and "undoubtedly a masterpiece not only of Polish but... of world literature", and remarked how surprising it was that such a brilliant drama could have been created by an author barely out of his teens. The American academic Harold B. Segel noted that the play "has steadily gained prestige in the twentieth century and is widely regarded in Poland as one of the greatest dramatic