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EN
In the 17th century, both the Turks and (much more often) the Tatars invaded Poland. According to historians, the Tatars in particular treated the Polish Republic as an area of economic exploitation. Its most severe form was the forced captivity of inhabitants of the south-eastern borderlands. This was documented by diarists and memorialists of Polish seicento, including Jan Florian Drobysz Tuszyński, Mikołaj Jemiołowski, Joachim Jerlicz, Samuel Maskiewicz, Zbigniew Ossoliński, and Kazimierz Sarnecki. They drew attention to the mass character of the Tatar-Turkish thraldom: not only soldiers but also many civilians were kidnapped by the Tatars, who benefited from human trafficking and thus made them captives. The authors of the diaries documented the circumstances of the attacks, including the time and routes taken by the looters. They drew attention to the state of the captives and reconstructed the human martyrdom.
PL
Old-Polish Sources of the Romantic Image of Podolia   The article considers romantic preoccupations with the traditions of the Polish Republic of Nobles. The author indicates how the Romanticism authors reached out to the history of Podolia and how literary images of Podolia are rooted in texts from older periods. She never points to individual Old-Polish texts quoted by nineteenth-century authors; she highlights, instead, how Old-Polish literature dealing with Podolia and certain anti-Turkish texts inspired Romantic authors in general. The author pays particular attention to selected motifs from Old-Polish literature that used to be employed in Romantic texts to create historical image of Podolia; among these one can distinguish such motifs as the utility of Podolian lush nature, Turkish captivity (“jasyr”), Polish-Lithuanian Eastern borderlands knight, and the soil that is fecund yet scorched by war. The article discusses sixteenth- and seventeenth-century authors, including Bartosz Paprocki, Piotr Gorczyn, and Marcin Paszkowski as well as Romantic writers such as Maurycy Gosławski, Tymon Zaborowski, and Seweryn Groza.
EN
The subject of considerations in the present article is the work by Bartłomiej Paprocki: Historyja żałosna o prędkości i okrutności tatarskiej […], which appeared in 1575. What can be noticed in the said work is the process of intersecting of generic features of current-novelties song (Polish pieśń nowiniarska) and the epic features, the latter being particularly those that characterise historical narrative poems, such as: verismo, events chronology, using information from contemporaneous sources, recording places and persons who participate in depicted events, moderation when it comes to utilising stylistic devises. At the same time, mainly in the dedicatory letter addressed to Anzelm Gostomski, an endeavour may be noticed to overcome the poetics of current-novelties songs – not least by creating the image of poet as a soothsayer. To the author’s mind, the work by Paprocki appeared at the dawn of Polish heroicum. The narrative poem in question came a few years prior to the poetical renderings from the times of war campaigns of Stephen Báthory, which are considered by this subject’s scholars as first attempts at creating new poetical quality – the historical narrative poem.
EN
The Khotyn victory in 1673 became an inspiration for many poets. It inspired such well-known artists as Wacław Potocki and Zbigniew Morsztyn, as well as secondary artists like Daniel Kałaj, Mateusz Kuligowski and Samuel Leszczyński. From among many creative writings about the battle of Khotyn there is one that outstands due to its length and detailed presentation. It is a work of future Lithuanian referendary Stefan Jan Ślizień: Haracz krwią turecką Turkom wypłacony first published in Vilnius in 1674. In the introductory poem Do czytelnika łaskawego, the poet adopts the attitude of the real events‘ relator who makes descriptions from the eyewitness’ perspective. Thus, he puts the poem into the circle of poetics of the native heroicum.Ślizień – who participated in the Khotyn battle – describes battle events in a meticulous way, bringing the recipient closer to the realities. On the pages of the poem, the poet expressively represented the figure of the commander-in-chief – hetman Jan Sobieski, whom he characterized according to the epic principle fortitudo et sapientia.  In addition, as a soldier from Lithuania, albeit fighting along with the Crown troops, he did not forget about the merits of Lithuania on the battlefield: he praises the equipment and courage of the Lithuanian army and appreciates the attitude of the great Lithuanian hetmans, Michał Pac and Michał Radziwiłł, thus showing attachment to the native land. 
EN
The article considers romantic preoccupations with the traditions of the Polish Republic of Nobles. The author indicates how the Romanticism authors reached out to the history of Podolia and how literary images of Podolia are rooted in texts from older periods. She never points to individual Old-Polish texts quoted by nineteenth-century authors; she highlights, instead, how Old-Polish literature dealing with Podolia and certain anti-Turkish texts inspired Romantic authors in general. The author pays particular attention to selected motifs from Old-Polish literature that used to be employed in Romantic texts to create historical image of Podolia; among these one can distinguish such motifs as the utility of Podolian lush nature, Turkish captivity (“jasyr”), Polish-Lithuanian Eastern borderlands knight, and the soil that is fecund yet scorched by war. The article discusses sixteenth- and seventeenth-century authors, including Bartosz Paprocki, Piotr Gorczyn, and Marcin Paszkowski as well as Romantic writers such as Maurycy Gosławski, Tymon Zaborowski, and Seweryn Groza.
Terminus
|
2010
|
vol. 12
|
issue 1(22)
PL
Th e essay discusses the process of formulating negative opinions on women’s clothing by baroque moralist writers (mainly priests and preachers), such as Bazyli Rychlewicz, Antoni Węgrzynowicz and Piotr Kwiatkowski. Th ese authors eagerly expressed their views on fashion by means of an exemplum, a genre attractive from a didactical point of view. According to religious criteria, decking oneself out was perceived as belonging to the realm of sin. Writers connected with the Church regarded sumptuous dresses as the eff ect (and also the cause) of such deadly sins as pride, envy or lust. Th e authors of exempla sought for artistic ideas, and above all, moral guidelines, in the Bible. Th e analyzed texts are characterized by a farreaching severity towards various fashion phenomena. In the eyes of baroque moralists, the ‘sin of fashion’ deserved punishment: suff ering and illnesses in the earthly life and eternal damnation after death.
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