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Ad fontem Sonam (Ep 2) Macieja Kazimierza Sarbiewskiego.Opowieść o źródłach [Maciej Kazimierz Sarbiewski’s Ad Fontem Sonam (Ep 2). Reflexion on the Sources]
No full text"The aim of this study is to discuss the rhetorical strategies and literary sources in
Epode 2, Ad fontem Sonam. In patrio fundo, dum Roma rediisset by Maciej Kazimierz Sarbiewski
(Casimir). It opens the possibility of an intertextual reading of the text (Catullus 31, Horace III
13, Ovid Metamorphoses III (407-417). My thesis is that the text, like the Horatian ode, demands
a metapoetic reading. The “source Sona” and its waters, wherever located in fact, stand
for an allegory of poetic inspiration, to be identified, again as in Horace, with both the poet and
his poetry, but probably also with God’s grace. Thus the image of the poet’s motherland takes
on a symbolic dimension and may be understood as an expression of the poetic identity of his
own, a hallmark of the poet and of his individuality. In this way the poem becomes a kind of
prayer and a performative act of speech.
Dwie Penelopy. Heroidy Owidiusza a elegie epistolarne Andrzeja Krzyckiego i Baltazara Castiglionego
Full text linkTwo Penelopes: Ovid’s Heroides and Its Two Imitations: Andrzej Krzycki and Baldassare Castiglione’s Epistolatory Elegies
The article presents a bilingual (Latin with a Polish translation) edition of two Neo-Latin imitations of Ovid’s Heroides, preceded by an introduction and provided with a philological and historical commentary. Both poems were written in the first twenty years of the 16th century. The author of the first one is Andrzej Krzycki (Cricius, 1482–1537), who at the time of composing the poem was the secretary of the first wife of Sigismund the Old, Barbara Zapolya. As the queen’s secretary, Krzycki was responsible for the stylistic aspect of her letters, which made it all the easier for him to create a fictional epistolary elegy on her behalf. The elegy commemorates the victorious battle for the Polish-Lithuanian army with the Grand Duchy of Moscow at Orsha (1514). For the poet it was also an opportunity to praise the invincible king and his army.
The author of the second elegy is Baldassare Castiglione (1478–1529), known as the author of Il libro del Cortegiano. He wrote a poetic letter on behalf of his wife, Ippolita Torelli, who was waiting for her husband’s return from Rome. Both authors not only refer to the situation of Penelope in Ovid’s first heroide, but also use Ovid’s other letters of heroines and their neo-Latin imitations. Castiglione also evokes one of Propertius’ elegies (IV 3), which seems to be a “proto-heroide”. Krzycki’s “Penelope” seems to be psychologically less complex, while its Italian counterpart consciously employs allusions, rhetorical games and omissions. Both display a wide range of feelings from despair and sadness to hope, and express deep affection for their husbands. The introduction places the poems in their historical and literary contexts, underlining especially Ovid’s Heroides influence on European Renaissance literature. The commentary indicates some similia and explains many details related to the circumstances of creating these works
Genology and finesse : the shortest songs by Jan Kochanowski
Full text linkThe purpose of this paper is the analysis of the shortest songs from Jan Kochanowski’s collection Pieśni. These include a petrarchist Pieśń II 21, and above all, four horatian‑origin works Pieśń: I 11 (Stronisz przede mną, Neto nietykana), II 7 (Słońce pali, a ziemia idzie w popiół prawie), II 16 (Nic po tych zbytnich potrawach…) and II 23 (Nie zawżdy, piękna Zofija…). Following a short review of previous attempts at classifying Kochanowski’s Pieśni, which were made by Polish scholars, as well as considering other options of categorising lyrical songs, the author indicated the contexts of particular works, described their rhetorics and emphasised the mastery of the poet, which is manifested through the construction of such sophisticated forms. A song, under Kochanowski’s pen, became a brief but comprehensive genre. It comprised solemnity and joy, elegiac mood and frivolous joke
Anotacijos
No full textMartynas Liudvikas Rėza, Raštai, t. 3: Traktatai: filologija, teologija, filosofija, sudarytoja Liucija Citavičiūtė, Vilnius: Lietuvių literatūros ir tautosakos institutas, 2018, 438 p., ISBN 978-609-425-236-5 (t. 3), ISBN 978-609-425-060-6 (bendras)
Lituanistinio sąjūdžio XVIII amžiaus Prūsijoje atodangos, t. 2: Dokumentinis Milkų šeimos palikimas = Die Hintergründe der lituanistischen Bewegung im 18. Jahrhundert in Preussen, Bd. 2: Das dokumentarische Erbe der Familie Mielcke, parengė Birutė Triškaitė, Žavinta Sidabraitė = herausgegeben Birutė Triškaitė, Žavinta Sidabraitė, Vilnius: Lietuvių literatūros ir tautosakos institutas, 2019, 283 p. ISBN 978-609-425-263-1
Grzegorz z Sambora, Żywot świętego Stanisława Kostki, Polaka, przełożyła Elwira Buszewicz, wstęp i opracowanie Elwira Buszewicz i Wojciech Ryczek, Kraków: Homini Tyniec Wydawnictwo Benedyktynów, 2018, 137 p. ISBN: 978-83-7354-875-6
Jakub Niedźwiedź, Poeta i mapa. Jan Kochanowski a kartografia XVI wieku, Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2019, 336 p. ISBN: 978-83-233-4640-1
Małgorzata Ewa Kowalczyk, Zagraniczne podróże Polek w epoce oświecenia, Łomianki: Wydawnictwo LTW, 2019, 496 p. ISBN 978-83-7565-604-
Nowołacińskie heroidy jezuickie. Mutacje i metamorfozy
Full text linkThe aim of the text is to describe the varieties and transformations of the literary genre inspired by Ovid’s Heroides, which occurred in Jesuit works in the early modern period (sixteenth and seventeenth centuries) within a specific geographical area, i.e. especially in Germany and the Netherlands. These considerations are preceded by a short reflection on Christian heroides created by humanist authors in the sixteenth century. The paper discusses mainly volumes covering entire collections containing numerous sacrae heroides and also presents some illustrative examples. The most important authors for the implementation of the genre are presented: Jakob Bidermann, Jean Vincart and Jakob Balde, as well as (more briefly) Balduin Cabillavius. The concepts of each collection and their ideological dominants are discussed. The analyses are complemented by fragments of some elegies quoted in the original along with the Polish translation made by the author
Koncepcja jedności Kościoła i idea Polski katolickiej w twórczości pisarzy potrydenckich .
No full textFragmenty wielkich (księgo)zbiorów Okolicznościowe publikacje Kazimierza Fortunata Albrychowicza związane z promocjami na Uniwersytecie Krakowskim .
No full textBłędni rycerze na granicy światów – przed i po Cervantesie
No full textThe discussion in this article is based on the assumption that the sociocultural dynamics of quixotism is common to many cultures and, as a consequence, each of them should produce its own version of the emblematic Don Quixote. The formula of this concept of quixotism comes from Magdalena Barbaruk’s studies in the field of theory and cultural practice, in which she probes into vast stretches of history, including the centuries after the publication of Cervantes’ novel as well as the epochs that preceded it.
Accordingly, the circle of Quixote-like figures should include Ignatius Loyola, Saint James, Christopher Columbus, the Polish Romantic poet Juliusz Słowacki and Prince Myshkin from Fyodor Dostoevsky’s novel The Idiot. The principal criterion for inclusion in this category is "to be a reader who walked out of the library so as to act in accordance with the books" (Magdalena Bodnaruk, ‘Don Kichote w naukach o kulturze’ [Don Quixote in Cultural Studies], in: Wieczna krucjata. Szkice o Don Kichocie [The Eternal Wandering: Essays on Don Quixote], Poznań 2016, p. 164). Taking that step results, as a matter of
necessity, in a clash with the generally accepted rules and conventions. Moreover, while doing so the quixotic individual has to face the risk of having his heroism held up to ridicule or dismissed as folly. This article puts up some additional candidates to Barbaruk’s short list of ‘Quixotes’ and considers the way in which their distinctive qualities may modify her quixotic formula. The first is the protagonist of the 1955 stage/screen adaptation of Cervantes’ novel by the Soviet Russian author Evgeny Schwartz. His Quixote is a knight errant who knows all too well that he defies people’s routines and expectations and yet remains true to himself and his ideals. He is aware that to ‘save the world’ he has to live and act in the boundary area between the profanum and the sacred, or the real world and a kind of fairyland. Therefore, what marks the timeless Quixote is the deliberate overstepping of a role sanctioned by the ruling consensus, and making a stand against the powers that be. The Middle Ages certainly produced many figures cast in that mould, among them Saint Gerald of Aurillac (whose Vita was written by Odo of Cluny). If a sharp, uncompromising view of reality is a distinct character trait of a quixotic personality, another figure that need to be added to the short list of is Buono, the good alter ego of Viscount Medardo, the protagonist of Italo Calvino’s novel The Cloven Viscount (1952). Finally, the article argues that a character who sets off on a journey (quest) which gives him the opportunity to perform noble (chivalric) deeds represents another version of a Quixotic knight errant. The case in point is Tristran from Neil Gaiman’s fairy tale fantasy Stardust
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