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1

The Oldest Extant Prose Text in the Polish language. The Phenomenon of the Holy Cross Sermons

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Wydra W.
Polish Libraries
|
2014
|
vol. 2
133-159
EN
The manuscript of the Holy Cross Sermons consists of 18 parchment strips, which are fragments of 4 folios in octavo format (13 strips make up a dual folio, and 5 form the lower parts of two other folios). These strips are probably rem¬nants of a more extensive manuscript. This monument was discovered in 1890 by Aleksander Brückner in a Latin codex in the Imperial Public Library in St. Petersburg, bearing the number Lat.I.Q.281. It had come to the St. Petersburg manuscript collections from the Library of the University of Warsaw, expropri¬ated by the Russians after the November Uprising in 1831. The Codex (destroyed during the last war) came from the library of the Benedictine monastery of the Holy Cross at Łysa Góra (Bald Mountain). It was made in the 1st half of the 15th century, and during the binding, as individual contributions were sewn together, the manuscript of the Polish sermons was cut into strips and used as supporting pieces. Before coming to Łysa Góra, the Codex in which the sermons were found was lying near the hermitage of St. Mary Magdalene at Leżajsk, where it belonged to the Benedictine monks of the Holy Cross. This monument contains a set of six sermons, one of which survived in its entirety, and five in irregular sections. These are sermons for the following days: St. Michael (only the end of the sermon is pre¬served), St. Catherine (all), St. Nicholas (the beginning), the Nativity (the ending), Epiphany (the beginning and end) and the Purification of the Blessed Virgin Mary (the beginning). The sermons are clearly intellectual in style. They differ from one another in structure. They are written in exquisite, artistic prose, rhythmic and rhyming. The unknown author wrote them in a style used in Latin literature of the twelfth and thirteenth centuries that stood out through parallelisms of syntax, rhyme and rhythm (ie. Ars dictaminis). So far, no Latin models have been found for the Holy Cross Sermons. The Polish manuscript of the sermons is probably from the early fourteenth century. It is, however, a copy, and perhaps a copy of a copy, the original being likely from the late thirteenth or early fourteenth cen¬tury. The text of Sermons was written in Gothic minuscule with numerous acute abbreviations. Such a strongly developed system of abbreviation has not previ¬ously been seen in any medieval monument of Polish literature (as well as Czech). The system used in the abbreviations is thoughtful and closely modeled on Latin forms. This proves the long practice of writing in Polish and the existence of the scriptorium, where many other manuscripts in the Polish language were probably created for the purposes of other collections, now irretrievably lost. The text of the Sermons contains many very archaic linguistic forms and compound words, in which it definitely differs from all subsequent historical forms of the Polish language. It still uses orthography found in diplomas and documents from before the fourteenth century. The Holy Cross Sermons stand thus at the beginning of the history of Polish literature, as this masterpiece is the first continuous independent Polish text in which the Polish language, previously existing in oral forms, takes the form of writing. They are also proof of the high level of Polish written cul¬ture before the middle of the fourteenth century. The Holy Cross Sermons belong to the oldest, most archaic layers of Polish literature. They indicate that before the middle of the fourteenth century, works in the Polish language were of an elite character. There was then in Poland an intellectual milieu interested in cul¬tivating a literature in the national language and of a high artistic level. From the middle of the fourteenth century, literary works in the Polish language became a much more popular focus of collections.
2
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Pieśni nabożne… z krakowskiej oficyny Antoniego Wosińskiego (1627)

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Wydra W.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2012
|
issue 19
329-345
EN
The article analyses the unique copy of the old Polish catholic hymn book Pieśni nabożne na święta uroczyste według porządku Kościoła ś. katolickiego na cały rok z wielką pilnością zebrane [Songs of piety and devotion...] published in Cracow in 1627 and found at the library at Escorial in Spain. The book, apparently the first known printed Polish catholic extensive hymn book, contained over 140 songs, in Polish and Latin, including works written by Jan Kochanowski and Mikołaj Rej. The article also describes later editions of the hymn book. This is a particularly important book in the history of Polish culture because it was repeatedly republished in different printing offices, not only Catholic, under the same or slightly changed title as late as until the nineteenth century. Numerous editions of the hymn book constitute a valuable source for the study of Polish Catholic hymns as they make it possible to follow and trace the chronology of works, their textual variations and the popularity of particular songs or hymns within a particular time frame, as well as their range of influence and regional occurrence.
3
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Dwa teksty staropolskie z przełomu XV i XVI wieku. Dekalog i Oracio contra Febrem

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Wydra W.
Poznańskie Studia Polonistyczne. Seria Językoznawcza
|
2015
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vol. 22
|
issue 1
281-290
PL
The article publishes two hitherto unpublished texts which were written at the turn of the 15th century in two incunabula. One is the Polish Decalogue in verse recorded in the incunabulum of the Library of the Canons Regular of the Lateran in Cracow, whereas the second text is the Latin Oracio contra febram with an insertion in the Polish language from the incunabulum of the National Library in Warsaw.
4
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Taniec śmierci na scenie kolegium jezuickiego w Kaliszu?

63%
Kurek K., Wydra W.
Poznańskie Studia Polonistyczne. Seria Literacka
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2013
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issue 22
315-339
EN
The discussion was prompted by the discovery, made in Cathedral Library in Gniezno, of a notebook from early 18th century, with notes by a student of the Jesuit college in Kalisz. The authors have found in it a modified copy of a poem (Różnych stanów piękne grono [The Beautiful Gathering of Various Estates]) written on the famous late-17th-century painting, Taniec śmierci [The Dance of Death], displayed in the Franciscan monastery in Kraków. The authors propose a hypothesis that the copy of the poem was a script for a show staged in the college. The discussion is given in a wide cultural and theological context, presenting the danceof-death topos as reflection of the idea of vanitas. The article presents modes of concretization of the dance macabre image in European art from the 14th to 17th century, with particular attention paid to theatrical productions of the topos in popular shows and in Jesuit school theatrical productions.
5
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Fragment kalendarza w języku polskim z XIV/XV wieku ze zbiorów Biblioteki Jagiellońskiej w Krakowie

63%
Leńczuk M., Wydra W.
Slavia Occidentalis
|
2020
|
issue 77/1
81-91
EN
A manuscript stored in the Jagiellonian Library (no. 1564 from 1404) holds a fragment of a Polish calendar, previously unpublished, from the late 14th century or the early 15th century. Written on the last, extra parchment page, it is a fragment of a much larger manuscript. The first 13 days of January have survived (1 to 13 January) and 13 days of February (4 to 19 February). The fragment contains 17 names, five of which are not included in the Słownik staropolskich nazw osobowych (Dictionary of Old Polish Proper Nouns, W. Taszycki, ed., vol. 1-7, Wrocław 1965-1987), namely Arkadyj, Emilijan, Iginij, Sotera, Wedast. The word january (January, in Polish styczeń) has not been recognised by dictionaries, either. There is no equivalent of the calendar in question in Poland or other European countries. It is impossible to indicate the diocese or a milieu where it could have been used. The document includes a few names of saints properly attributed to the days of their cult and names attributed to days not used in other known calendars. This leads to a conclusion that the calendar was either used in an unknown milieu or we are dealing with a simple error of the copyist. The latter theory best explains the peculiarity of this fragment of the calendar. This is confirmed by marking 4 nd 5 February as Ide rather than Nones, and 12 and 13 February as calends rather than Ides. The calendar was probably erroneously planned by the copyist who confused the days and affiliation of saints. Perhaps these errors were spotted early, the copying process was never completed and the parchment was recycled. Most probably, the intention behind the calendar (1564) was a large parchment “poster”, reminiscent of a scroll, used to inform the congregation about the holidays in the year. The calendar is unique because of the names of saints included in it and the fact that it is written in Polish.
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