The text, however, does not directly reference classical mythology. It reflects life in a society that still remembers old beliefs and myths, but has accepted new, in this case, Christian, beliefs (i.e., faith in the God of Goodness). Although pagan beliefs presented in the book are of Slavic origin, the text may, by analogy, give an insight into life during Late Antiquity when Christianity had already made the old pagan cults obsolete. However, the text may be of particular interest to young Christian readers and address possible questions about the coexistence of different religious and mythological narratives. The sympathetic portrayal of old gods enhances the value of ancient Slavic culture. It encourages the readers to explore their culture and reflect on the nature of faith (cf. p. 178).* In the description of the return of all gods, Greek and Roman gods (Zeus / Jupiter, Priapus) are mentioned, among others (pp. 237, 244).
According to the novel, pagan gods were created by the beliefs of the faithful themselves (p. 34), an assumption which also determined the gods’ character (for example, the severity and cruelty of Światowid). The fanatical take on Christianity is embodied in the God of Goodness, bestowed with the harsh, bloodthirsty and intolerant aspects of the pagan gods, which is evident in Ezra’s sermons and the episode involving Joan of Arc. Although it is said that the God of Goodness existed before gods and people came to be, people’s faith was not a condition of his existence; his image is subject to human interpretation and like Światowid, he becomes a more severe deity.
Another important aspect of the novel is how doubt is shown as another way of thinking (pp. 189, 255); it allows greater openness and wisdom. It is the main characteristic of the old priest Isak’s mentality and Jon’s way of thinking. However, Jon does everything he can to raise his son to be a man without any doubts, who fits into the new world and is closer to the fanatical priest Ezra (pp. 128, 150). Indeed, Ezra perceives Bogumił as his best disciple. Nevertheless, in the end, Bogumił also hears the distant call of Światowid and finds comfort in the “warm pulse” of the stones from the ruin of the god’s statue, where Jon had died (p. 255).
The theme of exclusion from society is also present in the novel, in the story of Ariel, a former jester, originally a member of a foreign migratory tribe and a friend of Jon and Gaja. Jon advises him and Gaja to leave the village and travel the world when Bogumił is grown enough to start studying at the priests’ school.
The novel asks questions about faith, tolerance, the courage required to think and love, destiny and sacrifice in the name of the highest possible values.
* References based on the edition: Terakowska, Dorota, Samotność bogów, Kraków: Wydawnictwo literackie, 2003.