Symbolae Philologorum Posnaniensium Graecae et Latinae
Not a member yet
294 research outputs found
Sort by
Girolamo Fracastoro – renesansowy uczeń Wergiliusza (Girolamo Fracastoro – a Renaissance Vergil’s Disciple)
Full text linkGirolamo Fracastoro (1476/78–1553), an Italian scholar, physician, and poet, has been celebrated throughout the ages as the author of Syphilis sive morbus Gallicus, a hexametric poem discussing the symptoms and the origin of the epitomical venereal disease. The term was modelled on one of the poem’s fictional characters, a pastor called Syphilus. Although Fracastoro was profoundly influenced by Lucretius’ rendition of the Democritus and Epicure’s theory of the world, which can be traced in similes, he undoubtedly regarded Vergil as the ultimate paragon of poetic accomplishment. This text explains how Fracastoro tried to emulate the hallowed oeuvre of his great predecessor.Girolamo Fracastoro (1476/78–1553), an Italian scholar, physician, and poet, has been celebrated throughout the ages as the author of Syphilis sive morbus Gallicus, a hexametric poem discussing the symptoms and the origin of the epitomical venereal disease. The term was modelled on one of the poem’s fictional characters, a pastor called Syphilus. Although Fracastoro was profoundly influenced by Lucretius’ rendition of the Democritus and Epicure’s theory of the world, which can be traced in similes, he undoubtedly regarded Vergil as the ultimate paragon of poetic accomplishment. This text explains how Fracastoro tried to emulate the hallowed oeuvre of his great predecessor
Trawestacyjne i burleskowe kody „Eneidy” Iwana Kotlarewskiego (The Travesty and Burlesque Codes of Ivan Kotliarevsky’s Aeneid)
Full text linkThe article examines the relationship between the travesty and burlesque poem Aeneid (1794-1822) by the Ukrainian writer Ivan Kotliarevsky (1769-1838) and its sources – the Russian heroic-comic poem Aeneid by N. Osipov and A. Kotelnitsky and Virgil’s poem Aeneid. The codes of the comic (burlesque) travesty of the Ukrainian Aeneid are revealed: the code of three-textuality (Latin original – Russian and Ukrainian travesties), the code of Kotliarevsky’s situational and continuous approach to transforming the ancient plot and character images, the code of double textuality (occasional, according to the method of situational representation of characters, comparisons of Trojans or Latins and Rutulians to Cossacks).The article examines the relationship between the travesty and burlesque poem Aeneid (1794-1822) by the Ukrainian writer Ivan Kotliarevsky (1769-1838) and its sources – the Russian heroic-comic poem Aeneid by N. Osipov and A. Kotelnitsky and Virgil’s poem Aeneid. The codes of the comic (burlesque) travesty of the Ukrainian Aeneid are revealed: the code of three-textuality (Latin original – Russian and Ukrainian travesties), the code of Kotliarevsky’s situational and continuous approach to transforming the ancient plot and character images, the code of double textuality (occasional, according to the method of situational representation of characters, comparisons of Trojans or Latins and Rutulians to Cossacks)
Warrior Deity from Hadrian’s Wall: Possible Representations of Cocidius in Rock Art of Northern England
No full textThe article aims to analyse the phenomenon of uninscribed rock carvings in Northern England depicting warrior figures. The carvings, found as rock art in the landscape, as well as in other contexts, are likely of Romano-British origin. A possible link to the cult of Cocidius, a native Celtic deity worshipped mainly by soldiers of the Roman army (especially the auxiliaries) on Hadrian’s Wall and in the surrounding areas, is explored. Various forms of evidence are considered, including epigraphic dedications to Cocidius, depictions on silver tablets from Bewcastle Roman Fort, the distribution of rock carvings, and the characteristics of military religion in Roman Britain.The article aims to analyse the phenomenon of uninscribed rock carvings in Northern England depicting warrior figures. The carvings, found as rock art in the landscape, as well as in other contexts, are likely of Romano-British origin. A possible link to the cult of Cocidius, a native Celtic deity worshipped mainly by soldiers of the Roman army (especially the auxiliaries) on Hadrian’s Wall and in the surrounding areas, is explored. Various forms of evidence are considered, including epigraphic dedications to Cocidius, depictions on silver tablets from Bewcastle Roman Fort, the distribution of rock carvings, and the characteristics of military religion in Roman Britain
Strabon, „Geografia” (XIV 1, 1–26). Wstęp, przekład, komentarz
No full textThe paper contains a translation of a fragment of the 14th book of the geographical treatise Geography by the Greek perieget, geographer and historian Strabo of Amaseia. The work has an introduction presenting the author, his treatise with an explanation of the concept of ancient periegesis, and the scientific and cultural value of Strabo’s work. The main part of the work includes a translation of passages from 1 to 26 from Chapter 1 of the 14th book of Geography, presenting the topography of Ionia, the history of the colonization of the land with an enumeration of the main cultural centers, and then a detailed presentation of the locations: Smyrna, Miletus, Myus, Priene, Samos, Icaria, Ephesus. A translation of the excerpts has been provided with an author’s commentary explaining the scientific terminology and enriching the work with a historical, religious, moral or political context. The fragment of the treatise has been translated and edited on the basis of the original text in the 1877 edition by A. Meineke, the English translation by H.C. Hamilton from 1903, and the critical edition by G. Kramer from 1852. The rough and descriptive style of Strabo’s writing has been maintained.The paper contains a translation of a fragment of the 14th book of the geographical treatise Geography by the Greek perieget, geographer and historian Strabo of Amaseia. The work has an introduction presenting the author, his treatise with an explanation of the concept of ancient periegesis, and the scientific and cultural value of Strabo’s work. The main part of the work includes a translation of passages from 1 to 26 from Chapter 1 of the 14th book of Geography, presenting the topography of Ionia, the history of the colonization of the land with an enumeration of the main cultural centers, and then a detailed presentation of the locations: Smyrna, Miletus, Myus, Priene, Samos, Icaria, Ephesus. A translation of the excerpts has been provided with an author’s commentary explaining the scientific terminology and enriching the work with a historical, religious, moral or political context. The fragment of the treatise has been translated and edited on the basis of the original text in the 1877 edition by A. Meineke, the English translation by H.C. Hamilton from 1903, and the critical edition by G. Kramer from 1852. The rough and descriptive style of Strabo’s writing has been maintained
O „Attysie” Katullusa słów kilka: propozycja przekładu literackiego (A Few Words on Catullus’ Attis: A Literary Translation Proposal)
Full text linkThe article presents a new literary translation of Catullus’ Carmen LXIII (De Attide) into the Polish language. The text is accompanied by a short introduction outlining the mythic history of Attis and commenting on previous Polish translations.The article presents a new literary translation of Catullus’ Carmen LXIII (De Attide) into the Polish language. The text is accompanied by a short introduction outlining the mythic history of Attis and commenting on previous Polish translations
Apollo, Kronos’s Avenger? Divine Intergenerational Conflicts in Light of ‘The Curse of Kronos’ (Prometheus Bound 907‒12)
No full textWithin the Greek mythos, supremacy among the gods passes down from father to son in a series of coups, from Ouranos to Kronos to Zeus; Zeus faces many pretenders to his throne but evades the fate of his father. The following article examines ancient Greek texts that represent Apollo as Zeus’s potential successor. I read references to Apollo’s unruliness against the so-called curse of Kronos (ἀρὰ Κρόνου, Prometheus Bound 907‒12). I argue that analyzed texts insinuate that Apollo could have avenged his grandfather and restarted the divine succession, a notion reframed by different authors to give Zeus another worthy challenger.Within the Greek mythos, supremacy among the gods passes down from father to son in a series of coups, from Ouranos to Kronos to Zeus; Zeus faces many pretenders to his throne but evades the fate of his father. The following article examines ancient Greek texts that represent Apollo as Zeus’s potential successor. I read references to Apollo’s unruliness against the so-called curse of Kronos (ἀρὰ Κρόνου, Prometheus Bound 907‒12). I argue that analyzed texts insinuate that Apollo could have avenged his grandfather and restarted the divine succession, a notion reframed by different authors to give Zeus another worthy challenger
Not Only Parandowski: The Icarus Myth Adapted And Modified for Children in People’s Poland
No full textThe article offers an overview of adaptations of the Icarus myth aimed at child readers in People’s Poland, published either within the official education system, in children’s magazines reinforcing the school curriculum, or in stand-alone illustrated storybooks. These adaptations, interpretations and retellings, both written before and after WW2, while presenting the same mythical tale of the first aviators, employ specific narrative and adaptation strategies to adjust the myth to the age of the audience and to the values promoted by the authors. In the case of pre-war writers, their interpretation had to be adjusted to meet the requirements of communist censorship, with which the post-war writers were necessarily in agreement.The article offers an overview of adaptations of the Icarus myth aimed at child readers in People’s Poland, published either within the official education system, in children’s magazines reinforcing the school curriculum, or in stand-alone illustrated storybooks. These adaptations, interpretations and retellings, both written before and after WW2, while presenting the same mythical tale of the first aviators, employ specific narrative and adaptation strategies to adjust the myth to the age of the audience and to the values promoted by the authors. In the case of pre-war writers, their interpretation had to be adjusted to meet the requirements of communist censorship, with which the post-war writers were necessarily in agreement
Destructive black birds from the West – notes on an unusual vernacular 17th-century lament over the fall of Constantinople
No full textThe vernacular lament known as Thrinos Konstantinoupoleos (Threnody on Constantinople) comes from the Codex Barberini Graecus 15, which is dated to the 17th century. It was written in the form of a letter by an unknown author to a recipient who also remains unknown. The author of the work imitates, albeit sometimes freely, the composition Peri arpagis kai adikias. Kai thrinos kai klauthmos peri tis Konstantinoupoleos by Matthew of Myra, a work that can be dated to before 1618. Surprisingly, the Thrinos Konstantinoupoleos has little in common with the lamentations over the fall of cities to which the threnodies for the fall of Constantinople belong. Its content is primarily a criticism of the Byzantines and an attempt to see the capture of the City as an inevitable event brought about by the Romaioi themselves. The composition bears no relation to the typical features of an elegy or an elogium. In this article, I focus on the features of this composition that distinguish it in character from other lamentations. Furthermore, by comparing relevant passages from the original text by Matthew of Myra, I attempt to show the profound originality of the author of Thrinos’ vision.The vernacular lament known as Thrinos Konstantinoupoleos (Threnody on Constantinople) comes from the Codex Barberini Graecus 15, which is dated to the 17th century. It was written in the form of a letter by an unknown author to a recipient who also remains unknown. The author of the work imitates, albeit sometimes freely, the composition Peri arpagis kai adikias. Kai thrinos kai klauthmos peri tis Konstantinoupoleos by Matthew of Myra, a work that can be dated to before 1618. Surprisingly, the Thrinos Konstantinoupoleos has little in common with the lamentations over the fall of cities to which the threnodies for the fall of Constantinople belong. Its content is primarily a criticism of the Byzantines and an attempt to see the capture of the City as an inevitable event brought about by the Romaioi themselves. The composition bears no relation to the typical features of an elegy or an elogium. In this article, I focus on the features of this composition that distinguish it in character from other lamentations. Furthermore, by comparing relevant passages from the original text by Matthew of Myra, I attempt to show the profound originality of the author of Thrinos’ vision
Transforming the Legendary Image of the Legislator as Promoter of Non-violation of Animal Life: a Shared Premise in Plutarch’s Moralia and Porphyry’s De Abstinentia
Full text linkLegislation was a component that characterized the link between civic and religious authority throughout the Archaic period to the early Roman Empire. Legislation is much celebrated in the respective philosophical cultures of Plutarch and Porphyry: in the former, the image of the ideal ruler reflects the notion of a philosopherking, while in the latter, it was attached with significance to life lived under the divine law of the Intellect of Kronos. This article will demonstrate how Plutarch and Porphyry jointly acknowledge the legislator’s legendary image as more than mediating between hostile factions of the citizen body and regulating divine worship and ritual praxis, often on the basis of his political expertise and divine ancestry by casting it in a fresh mold. In doing so, Plutarch and Porphyry together claim that the legislator’s legendary image plays a decisivly corrective role in ancient society by way of introducing the non-violation of animal life for food and sacrifice. This corrective role will be discussed as being pivotal for the intellectual pursuit of the priestly community and philosophers in selected dialogues in Plutarch’s Moralia and Porphyry’s De Abstinentia.Legislation was a component that characterized the link between civic and religious authority throughout the Archaic period to the early Roman Empire. Legislation is much celebrated in the respective philosophical cultures of Plutarch and Porphyry: in the former, the image of the ideal ruler reflects the notion of a philosopherking, while in the latter, it was attached with significance to life lived under the divine law of the Intellect of Kronos. This article will demonstrate how Plutarch and Porphyry jointly acknowledge the legislator’s legendary image as more than mediating between hostile factions of the citizen body and regulating divine worship and ritual praxis, often on the basis of his political expertise and divine ancestry by casting it in a fresh mold. In doing so, Plutarch and Porphyry together claim that the legislator’s legendary image plays a decisivly corrective role in ancient society by way of introducing the non-violation of animal life for food and sacrifice. This corrective role will be discussed as being pivotal for the intellectual pursuit of the priestly community and philosophers in selected dialogues in Plutarch’s Moralia and Porphyry’s De Abstinentia
Karzeł na cesarskim tronie. „Relacja z poselstwa do Konstantynopola” Liudpranda z Cremony (1–12; 39–42): wstęp, przekład, komentarz
Full text linkThe paper contains a translation of selected excerpts from The Embassy to Constantinople by Liudprand of Cremona. The work of Liudprand was created in the mid-tenth century and is considered a unique document of medieval diplomacy. Selected excerpts present the Byzantine emperor Nikephoros II Phokas. The thesis consists of two parts: introduction and translation with a commentary. The introduction contains information about the author of “The Embassy” and the context of writing, as well as the language and literary style.The paper contains a translation of selected excerpts from The Embassy to Constantinople by Liudprand of Cremona. The work of Liudprand was created in the mid-tenth century and is considered a unique document of medieval diplomacy. Selected excerpts present the Byzantine emperor Nikephoros II Phokas. The thesis consists of two parts: introduction and translation with a commentary. The introduction contains information about the author of “The Embassy” and the context of writing, as well as the language and literary style