Symbolae Philologorum Posnaniensium Graecae et Latinae
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Klasyczno-nieklasyczny dramat Kaspra Brüloviusa o Juliuszu Cezarze
Full text linkThe article deals with the structure of the Latin tragedy Julius Caesar by Caspar Brülovius, a Pomeranian playwright associated with the Academy in Strasbourg. The text was published in 1616, has as many as 2580 verses and shows historical events that took place over the years: from 46 B.C., when Caesar triumphed, to 30 B.C., when the naval battle of Actium ended. One can get the impression that Brülovius carefully planned the original construction of his work: Acts II and III constitute the actual tragedy about Caesar, probably the closest to ancient plays, with a homogeneous, compact action and one main character. This part of the drama could exist on its own (without the other acts). Act I presents Caesar’s achievements (the conquest of Gaul) and is primarily aimed at educating Strasbourg students. The remaining acts (IV, V) not only pursue didactic goals, but also satisfy the tastes of the audience of the time, who probably liked the strings of death and horrors shown directly on the stage and the interweaving of comic elements with real tragedy. As a whole, Brülovius’ work is a non-classical drama, but Acts II and III, considered as a separate whole, constitute a classical drama.The article deals with the structure of the Latin tragedy Julius Caesar by Caspar Brülovius, a Pomeranian playwright associated with the Academy in Strasbourg. The text was published in 1616, has as many as 2580 verses and shows historical events that took place over the years: from 46 B.C., when Caesar triumphed, to 30 B.C., when the naval battle of Actium ended. One can get the impression that Brülovius carefully planned the original construction of his work: Acts II and III constitute the actual tragedy about Caesar, probably the closest to ancient plays, with a homogeneous, compact action and one main character. This part of the drama could exist on its own (without the other acts). Act I presents Caesar’s achievements (the conquest of Gaul) and is primarily aimed at educating Strasbourg students. The remaining acts (IV, V) not only pursue didactic goals, but also satisfy the tastes of the audience of the time, who probably liked the strings of death and horrors shown directly on the stage and the interweaving of comic elements with real tragedy. As a whole, Brülovius’ work is a non-classical drama, but Acts II and III, considered as a separate whole, constitute a classical drama
Is There an Acrostic in Balbilla, Epigr. 31 Bernand?
Full text linkThe article presents a critical discussion of the interpretation of one of Balbilla’s epigrams carved on the foot of Memnon’s colossus at Egyptian Thebes (Bernand no. 31) proposed by Marialuigia Di Marzio in her article published in QUCC 2019. According to this interpretation, it contained the acrostic ΕΦΗΩΚΑΕ, which Di Marzio resolves as ΕΦΗ Ω ΚΑΕ(ΣΑΡ), suggesting a direct apostrophe to the emperor Hadrian on the part of the statue. However, there are compelling reasons to reject this intriguing proposal.The article presents a critical discussion of the interpretation of one of Balbilla’s epigrams carved on the foot of Memnon’s colossus at Egyptian Thebes (Bernand no. 31) proposed by Marialuigia Di Marzio in her article published in QUCC 2019. According to this interpretation, it contained the acrostic ΕΦΗΩΚΑΕ, which Di Marzio resolves as ΕΦΗ Ω ΚΑΕ(ΣΑΡ), suggesting a direct apostrophe to the emperor Hadrian on the part of the statue. However, there are compelling reasons to reject this intriguing proposal
Nieetyczna kuropatwa. O niektórych źródłach „Listu” 40. Ambrożego z Mediolanu
Full text linkIn his narrative, St. Ambrose often used arguments based on comparisons drawn from the natural environment. It should be emphasised that so-called ‘Christian zoology’ is not novel from the perspective of method, but because of the value judgements expressing the worldview of the new religion. The overall narrative of Letter 40 is built around the detailed behaviour of the partridge. From the perspective of the structure of the text and the logic of the narrative, the story of the partridge is remarkably extensive, detailed and ornithologically correct, even in the light of modern science. St. Ambrose made use of a motif present in the Hebrew tradition, while at the same time developing the description existing in the classical tradition, in terms of natural bservation, rich in behavioural details. In this way, the two strands of tradition complement each other, fulfilling different functions in the literary art of St. Ambrose’s prose.In his narrative, St. Ambrose often used arguments based on comparisons drawn from the natural environment. It should be emphasised that so-called ‘Christian zoology’ is not novel from the perspective of method, but because of the value judgements expressing the worldview of the new religion. The overall narrative of Letter 40 is built around the detailed behaviour of the partridge. From the perspective of the structure of the text and the logic of the narrative, the story of the partridge is remarkably extensive, detailed and ornithologically correct, even in the light of modern science. St. Ambrose made use of a motif present in the Hebrew tradition, while at the same time developing the description existing in the classical tradition, in terms of natural bservation, rich in behavioural details. In this way, the two strands of tradition complement each other, fulfilling different functions in the literary art of St. Ambrose’s prose
Filip Buonaccorsi Kallimach „De legitimo amore”
Full text linkThe article is an analysis of three works by Filip Kallimach (Filippo Buonaccorsi) regarding marriage (elegy XXII, Epithalamium Fanniae ac Musaei, carmen Ad se ipsum). In the collections of Roman elegies from the Augustian era, there are no wedding pieces. The source of Callimachus’ idea is found by the author of the article in Epithalamium in Stellam et Violentillam by P. Papinius Statius and, indirectly, through the epithalamium of Statius – in the unpreserved elegies of L. Arruntius Stella, a poet of Domitian times.The article is an analysis of three works by Filip Kallimach (Filippo Buonaccorsi) regarding marriage (elegy XXII, Epithalamium Fanniae ac Musaei, carmen Ad se ipsum). In the collections of Roman elegies from the Augustian era, there are no wedding pieces. The source of Callimachus’ idea is found by the author of the article in Epithalamium in Stellam et Violentillam by P. Papinius Statius and, indirectly, through the epithalamium of Statius – in the unpreserved elegies of L. Arruntius Stella, a poet of Domitian times
Polskie przekłady „Testamentum porcelli”
Full text linkThe purpose of the article is to analyse the four Polish translations of Testamentum porcelli: by Witold Truszkowski (1972), Magdalena Nowak (1996), Maciej Jońca (2011) and the team comprising Andrzej Dzikowski, Aldona Jurewicz and Gabriela Molisak (2016). Every translator has their own strategy for rendering the text in Polish but none of them includes all the aspects of the ancient parody: linguistic peculiarities (colloquialisms, neologisms), stylistic figures, technical terminology (zootechnical and legal), the differences in style and humorous tone of the of the text. The translation strategies applied by the translators vary depending on the research field which lies within the scope of interest of each translator. Truszkowski concentrates on proper rendering of the stylistic features of the text, and is especially interested in the colloquial character of the ancient parody. Nowak attempts to focus on the sources of humour, but her translation is nearly literal. Jońca draws attention to technical legal terms, as does the team Dzikowski, Jurewicz and Molisak, although these translators also emphasise zootechnical lexemes. Each of these translation strategies shows a different layer of Testamentum porcelli.The purpose of the article is to analyse the four Polish translations of Testamentum porcelli: by Witold Truszkowski (1972), Magdalena Nowak (1996), Maciej Jońca (2011) and the team comprising Andrzej Dzikowski, Aldona Jurewicz and Gabriela Molisak (2016). Every translator has their own strategy for rendering the text in Polish but none of them includes all the aspects of the ancient parody: linguistic peculiarities (colloquialisms, neologisms), stylistic figures, technical terminology (zootechnical and legal), the differences in style and humorous tone of the of the text. The translation strategies applied by the translators vary depending on the research field which lies within the scope of interest of each translator. Truszkowski concentrates on proper rendering of the stylistic features of the text, and is especially interested in the colloquial character of the ancient parody. Nowak attempts to focus on the sources of humour, but her translation is nearly literal. Jońca draws attention to technical legal terms, as does the team Dzikowski, Jurewicz and Molisak, although these translators also emphasise zootechnical lexemes. Each of these translation strategies shows a different layer of Testamentum porcelli.
Sprostowanie:
W prezentowanej w artykule Joanny Pieczonki analizie przekładu "Testamentum porcelli", dokonanego przez Andrzeja Dzikowskiego, Aldonę Jurewicz i Gabrielę Molisak, zawarta została błędna informacja jakoby dr Andrzej Dzikowski był zoologiem, podczas gdy w rzeczywistości jest z wykształcenia prawnikiem i lekarzem weterynarii. Za powyższą pomyłkę serdecznie przepraszamy
Maksymos z Tyru. Pierwsza mowa o erotyce Sokratesa, XVIII (Trapp)
Full text linkMaksymos z Tyru, wędrowny grecki retor żył w II wieku i był przedstawicielem Drugiej Sofistyki. Występował z deklamacjami popisowymi (konferencjami) w Atenach oraz za czasów cezara Kommodusa (180–192) w Rzymie. Zachowało się po nim ich czterdzieści i jedna na różne tematy. Jednym z nich jest miłość, której poświęcił aż cztery wystąpienia. Nie są one głębokie. Retor wynagradza to słuchaczom popisem krasomówczym, sięgając popisowo po wiele aluzji literackich i cytatów poetyckich głównie z Homera i Platona. W prezentowanej tu porównuje jej przedstawienie przez Sokratesa z obrazem miłości u Safony. Przekładu tej dialeksy dokonałem na podstawie wydania: Maximus Tyrius: Dissertationes, ed. M.B. Trapp, Stutgardiae et Lipsiae 1994
Kilka uwag na temat recepcji twórczości Owidiusza w chrześcijańskeij poezji nowołacińskiej doby baroku
Full text linkIn the Neo-Latin poetry written from the fifteenth to the eighteenth centuries, one can find numerous references to the works of Ovid. The aim of this article is to reflect on the ways works by the famous Roman poet were received in Neo-Latin Christian literature of the Baroque period. The article discusses three poetry cycles inspired especially by Ovid`s elegies. Ovidius Christianus, whose author is the Jesuit Laurent Le Brun, refers to the Bible and informs about the New World in the form of poetic letters. Ovidius Christianus by Johannes Baptista Bebber presents in the form of elegies the moral principles of Thomas à Kempis contained in his work De imitatione Christi. The third item described is the booklet Novum liber tristium, which contains a series of seven elegies dedicated to the sorrows of Our Lady. The author of the article tries to show how the works of Ovid influenced the poetic imagination of Christian authors.In the Neo-Latin poetry written from the fifteenth to the eighteenth centuries, one can find numerous references to the works of Ovid. The aim of this article is to reflect on the ways works by the famous Roman poet were received in Neo-Latin Christian literature of the Baroque period. The article discusses three poetry cycles inspired especially by Ovid`s elegies. Ovidius Christianus, whose author is the Jesuit Laurent Le Brun, refers to the Bible and informs about the New World in the form of poetic letters. Ovidius Christianus by Johannes Baptista Bebber presents in the form of elegies the moral principles of Thomas à Kempis contained in his work De imitatione Christi. The third item described is the booklet Novum liber tristium, which contains a series of seven elegies dedicated to the sorrows of Our Lady. The author of the article tries to show how the works of Ovid influenced the poetic imagination of Christian authors
Płaszcz babiloński we fragmencie 791 Arystofanesa
Full text linkIn the Etymological Dictionary of Akkadian, recently published, the noun pampallu ‘a garment or a woollen cloth’ is accompanied by a short note: “Of interest is a Phrygian word for a ‘coat’ (and the genitals) transmitted by Hesychios: βάμβαλον· ἱμάτιον· καὶ τὸ αἰδοῖον. Φρύγες”. The paper presents some other relevant data, especially Aristophanes’ fragment 791, attested in the lexicon of Photius: βάμβαλον· ἱμάτιον Βαβυλώνιον. οὕτως Ἀριστοφάνης – “bambalon: a Babylonian coat. Aristophanes [says] so”. The final result of the study is that there are two homonyms: 1. βάμβαλον ‘a Babylonian-style warm coat’, and 2. βά(μ)βαλον ‘genitals’. The former is a Semitic borrowing connected with the Akkadian pampallu, the latter is probably Phrygian, but its etymology remainsunknown.In the Etymological Dictionary of Akkadian, recently published, the noun pampallu ‘a garment or a woollen cloth’ is accompanied by a short note: “Of interest is a Phrygian word for a ‘coat’ (and the genitals) transmitted by Hesychios: βάμβαλον· ἱμάτιον· καὶ τὸ αἰδοῖον. Φρύγες”. The paper presents some other relevant data, especially Aristophanes’ fragment 791, attested in the lexicon of Photius: βάμβαλον· ἱμάτιον Βαβυλώνιον. οὕτως Ἀριστοφάνης – “bambalon: a Babylonian coat. Aristophanes [says] so”. The final result of the study is that there are two homonyms: 1. βάμβαλον ‘a Babylonian-style warm coat’, and 2. βά(μ)βαλον ‘genitals’. The former is a Semitic borrowing connected with the Akkadian pampallu, the latter is probably Phrygian, but its etymology remainsunknown
Przedstawienia i symbolika roślin w poezji Pindara
Full text linkThe extensive use of plant motifs is at the heart of Pindar’s poetic images and metaphors. In his epinicions, the poet uses the symbolism of plants associated with Olympian and Pythian games to praise the victor and to show the importance of his achievement. The olive and laurel wreaths with which the victorious athletes are crowned become symbols of excellence and of the immortal fame accompanying human achievements, which is guaranteed by the poet’s song. Spring flowers such as roses and violets have a specific ritual meaning in Pindar’s cult songs, especially in his dithyrambs, where they symbolize vitality and rebirth. Aside from the plants typical of Greek flora, the Theban poet mentions those with miraculous properties, distinguished by their golden colour, which are associated with the divine and characteristic of sacred places and mythical landscape with paradisical connotations. Therefore, the symbolic meaning of floral imagery in Pindar’s Laments and in some passages from his victory songs cannot be recognized without taking into account its eschatological context.The extensive use of plant motifs is at the heart of Pindar’s poetic images and metaphors. In his epinicions, the poet uses the symbolism of plants associated with Olympian and Pythian games to praise the victor and to show the importance of his achievement. The olive and laurel wreaths with which the victorious athletes are crowned become symbols of excellence and of the immortal fame accompanying human achievements, which is guaranteed by the poet’s song. Spring flowers such as roses and violets have a specific ritual meaning in Pindar’s cult songs, especially in his dithyrambs, where they symbolize vitality and rebirth. Aside from the plants typical of Greek flora, the Theban poet mentions those with miraculous properties, distinguished by their golden colour, which are associated with the divine and characteristic of sacred places and mythical landscape with paradisical connotations. Therefore, the symbolic meaning of floral imagery in Pindar’s Laments and in some passages from his victory songs cannot be recognized without taking into account its eschatological context
André Motte (1936–2021). Belgijski przyjaciel poznańskich filologów i filozofów antycznych
Full text linkThe author briefly presents the life and work of André Motte (who died 28 November 2021), who was a professor of ancient philology and philosophy at the University of Liège, and details his longtime cooperation with the ancient philologists and philosophers of the Adam Mickiewicz University in Poznań.The author briefly presents the life and work of André Motte (who died 28 November 2021), who was a professor of ancient philology and philosophy at the University of Liège, and details his longtime cooperation with the ancient philologists and philosophers of the Adam Mickiewicz University in Poznań