Heavy metal “Krzyk” and the profundity of the modern self

Abstract

The article tries to combine Charles Taylor’s theory of the “profundity” of the modern self from his book Sources of the self: The making of modern identity with Stanisław Przybyszewski’s postulates, presented in his article “For the new art” (mare tenebrarum, the kinship theory). The author, referring to Taylor’s and Przybyszewski’s ideas, analyses a literary text (“Krzyk” by Przybyszewski) and the lyrics (Zwierzenia kontestatora and Heavy Metal Świat by TSA), in order to present the searching for (Taylor), as well as such forms of expression which could be equivalent to the processes happening in the profundity, i.e. in that part of the soul which is inaccessible for human senses, and its indications may be noticed only by an individual/artist/ genius. During the analysis process, the author points to the diary forms of Przybyszewski (Moi współcześni), in which the writer has a premonition that the “fatherland sounds” are a kind of ancient tune, an atavistic roar coming from the depth. The question remains: how to illustrate this part of the soul through art? Is Chopin’s music the only chance? It does not seem to be, but Przybyszewski can’t have realised that. It was only a few decades after his death that the music of scream and atavistic reactions appeared. This music of a screaming soul most willingly penetrates what is hidden inside, i.e. commonly misunderstood behaviours, in some circles considered to be immoral and unethical.