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'BOGURODZICA' (GODES MOTHER), THE MOTHER OF THE POLISH SONGS

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Dabrowka A., Flotzinger R., Perz M., Pikulik J., Hamm J., Mazurkiewicz R., Wanicowa Z., Hashold J.-P.

Pamiętnik Literacki

2005

vol. 96

issue 2

7-64

The abstracted papers mentioned below, devoted to the origins and history of the Polish medieval song 'Bogurodzica', were presented at the scholarly conference held in 2003. In his paper (More on the Problem of 'Bogurodzica') Rudolf Flotzinger strongly opposes the idea that the melody of 'Bogurodzica' is a trope of the Kyrie from 'The Litany to All Saints'; it is a song composed of variants of opening phrase (to the words 'Bogurodzica dziewica'). This type of artistic composition was possible no earlier than at the end of 14th century in the south of Poland. Such relatively late dating and the opinion of the cento-like character of the composition are commented with approval by Miroslaw Perz (Polish 'Afterword' to the Remarks of Rudolf Flotzinger). Jerzy Pikulik (What the Melody of 'Bogurodzica' Tells Us of the Time of the Song's Composing) refers to the statements and suggestions of musicologists working on 'Bogurodzica'. Surzynski distinguished phrase components, and Feicht indicated their sources. Since the melody is a cento composed of the already known elements, it is only on the basis of their combination (melodic jumps) that we can exclude its dating before 13th century. Josip Hamm ('Bogurodzica' in the South-Slavonic Perspective) considers the idea of bringing 'Bogurodzica' to Cracow by the circle connected with the Polish Queen Jadwiga. To prove this, he reconstructs its possible south-slavonic lyric and suggests its first stanza in the regular 8-syllable line. According to Roman Mazurkiewicz and Zofia Wanicowa (Why Was 'Bogurodzica' Sung during the Liturgy of Chtistmas?) the multiplicity of interpretations of the lyric, which has not yet revealed all its mysteries, led to some resignation. Taking into account the hint given by T. Witczak that in case of stagnation we should explore older hypotheses, the authors remind and confirm the idea of Los that 'Bogurodzica' functioned, according to its destination, in the times of the liturgy of Christmas and Jesus Christ's Baptism. It is from this angle that they consider the theological meanings of the song paying special attention on the expressions which help to understand the context. Their grammatical and semantic analyses lead to confirmation of earlier attempts at reconstructing of the most difficult sentence from Bogurodzica - 'U twego syna...' (At your son...) - which is given the meaning of 'Matko wybrana przez Twego Syna, Maryjo, zyskaj Go nam, daj Go nam' (Mother chosen by your Son, send Him to us, give Him to us). The sketch by Jean-Philippe Hashold ('Why Was 'Bogurodzica' Sung during the Battle of Tannenberg?' or a Spiritual Competition between the Teutonic and Polish Knights) answers the question posed by W. Wydra in the title of his book, and repeated by the author himself: the answer touched the problem of showing to the Teutonic Knights and Europe the Polish religiosity with the special emphasis on Mary being the patron saint of this knightly order. Finally Andrzej Dabrowka (The Mother of the Polish Songs) writes about the textual sources of Bogurodzica in two Latin sequences: 'Ave Dei Genitrix' and 'Gaude mater luminis'. He evokes a manuscript from the year 1411 (issued in Berlin in 1982) which described 'Bogurodzica' as a Christmas song. The source remained unnoticed by philologists and was underestimated by historians. Resorting to the political explanation of J.-Ph. Hashold, Dabrowka in conclusion turns to dating 'Bogurodzica' back closer to the times shortly before the Battle of Grunwald (Tannenberg).

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1 Pamiętnik Literacki

1 2005

1 Dabrowka A.

1 Flotzinger R.

1 Hamm J.

1 Hashold J.-P.

1 Mazurkiewicz R.

1 Perz M.

1 Pikulik J.

1 Wanicowa Z.

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'BOGURODZICA' (GODES MOTHER), THE MOTHER OF THE POLISH SONGS