The article offers a comparative analysis of two outstanding texts of culture: Apocalypse Now by Francis Ford Coppola and The Undivine Comedy by Zygmunt Krasiński in relation to their multifaceted renditions of the apocalypse motif. The text looks at these works from different perspectives examining their protagonists, settings and forms. The analysis presents a revision of their revolutionary potential within and outside of the romantic paradigm. It also touches upon mechanisms governing apocalypse and inscribes them into film, literary and historical studies.
