result in the release of all persecuted people and nationalities, just as Christ's death brought salvation. The characters of the drama are chiefly prisoners, accused of conspiracy against the Russian conqueror. The self-named protagonist is called Konrad. He is a poet. In his monologue, commonly known as "The Great Improvisation" (Wielka Improwizacja), he is talking to God about his patriotic feelings and personal misfortune. He compares his works of poetry to the creations of God and nature, and claims that they are completely equal, if not better. Frustrated, Konrad calls God out, accusing Him of letting people suffer — particularly him and Poles under the rule of three foreign empires, and yet still wanting to be called Father, worshipped and loved. The young poet thinks that Creator is baffled by his words and that man knows Him better than any of archangels, because he hears no response. He is ready to fight against God (comparing himself to Satan, but claiming that he will be the more challenging enemy, because, unlike his predecessor, in this battle he will use heart, not reason) for improving the fate of his nation and whole humanity. Meanwhile, angels and devils are struggling over Konrad's soul. Another character, a priest called Piotr, has also a vision. When he happens to foretell the country's future, he says one of the most mysterious words of the whole drama. Describing a person who will bring back the freedom of Poland, he says: "The Son of a foreign mother, in his blood old heroes And his name will be forty and four". The whole drama brings back the hope of Polish independence and gives a great picture of Polish society in so difficult a moment. For instance, recognizable words are: "Our nation is like lava. On the top it is hard and hideous, but its internal fire cannot be extinguished even in one hundred years of coldness. So let's spit on the crust and go down, to the profundity!" Interpretation Dziady is known for its varying interpretations. The best known ones are the moral aspect of part II, the individualist and romantic message of part IV, and the deeply patriotic, messianistic and Christian vision in part III. , however, focuses his interpretation on Slavic pagan and occult elements found in the drama. In his book Mickiewicz hermetyczny he writes about the influence of Hermetic, theosophical and alchemical philosophy on the