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Sen i marzenie w łacińskiej i francuskiej twórczości poetów Plejady

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Buszewicz E.
Terminus
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2010
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vol. 12
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issue 1(22)
PL
Th e focus of this article is mainly on Ronsard and Joachim du Bellay, whose poetry features the themes of sleep or dream in many ways, aspects and levels.Among Ronsard’s odes we can fi nd a lyric prayer to a personifi ed and divinized Sleep (Voeu au Somme); the poem is marked by a strong desire for oblivion or even for death as eternal sleep, considered as liberation from the troubles and anxieties of the daily life, as a remedy for extreme torments. Dream visions are also structural elements of du Bellay’s cycles of love poetry, e.g. the Somnium (in the case of Latin elegies) or Sonnet V of L’Olive (in the case of French sonnets). On the other hand, the Songe, linked to the Antiquités de Rome, represents a series of pessimist and catastrophic visions inspired by Ecclesiastes and the Book of Revelation. As for reveries, they are often comparable to a mental voyage, a kind of a quest, related to the Platonic ladder of love with three main steps: love of a beautiful body, love of a beautiful soul and love of beauty itself, i.e. the eternal and absolute beauty. Among the Platonic infl uences we can also classify the androgyny myth and the idea of metempsychosis, noticeable in Ronsard’s poetry (Élégie XV), presenting a very pessimistic vision of the human nature.Th e Hymne de la Surdité of du Bellay, in which the poet transforms his own disability into an ideal reality, is probably rooted in a similar vision.
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Forma gatunkowa ody w łacińskiej poezji Jana Kochanowskiego (Lyricorum libellus)

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Buszewicz E.
Terminus
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2014
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vol. 16
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issue 1(30)
PL
The ode as a genre in the Latin poetry of Jan Kochanowski (Lyricorum libellus)The aim of this study is to establish the place of Jan Kochanowski’s Lyricorum libellus (1580) in the history of Polish Renaissance Neo-Latin ode presented against a wider European background. The development of this genre in this historico-literary period in Poland has received only fragmentary reporting, e.g. in relation to Horatianism in literature or as a background for the vernacular ode. Yet, as Carol Maddison argues in her Apollo and the Nine, the Neo-Latin ode is, in a sense, a new genre revived and newly “devised” by Renaissance humanists. In her fundamental work, Maddison also presents the development of the ode and its variations in Italy and France. According to ancient patterns used by poets, Horatian odes (including Kochanowski’s odes) can be divided into the “pindaric” and the “anacreontic-sapphic.” To some extent this division coincides with the classification of odes as “political” or “private.” Similar categorisation criteria adopted by various researchers (Zofia Głombiowska, Jacqueline Glomski, Józef Budzyński) may result in individual odes being assigned to several different categories. The first part of the paper, therefore, emphasises the identity of the Neo-Latin ode and its status as a new genre strongly related to Renaissance Humanism. In the second part, the author attempts to assign particular poems from Lyricorum libellus to patterns indicated by Maddison, and deals with previous attempts at classification based on differentiating between political and private odes. She also underlines that Kochanowski frequently imitated both pindaric and anacreontic patterns through Horace. In the third part, the author analyses the strophic organisation of individual odes and their metre as well as their logical-rhetorical structure. The odes are here classified with regard to these criteria and interpreted in accordance with their historical context. The author pays close attention to the genre’s borderline between ode and hymn, stylistic “nobilitation” of lyrical poems and the outright Horationism of the collection. Lastly, she presents conclusions concerning the role of Lyricorum libellus in the development of the ode. Before Kochanowski, a significant role in the evolution of the genre was played by the so-called “university ode,” which was popular in Silesian and German poetic circles, as well as in odes by Paweł z Krosna. Kochanowski’s odes, however, bear little resemblance to this stage of the development of the genre in Poland. Imitating Horace in the spirit of such poets as Michal Marullus or Giovanni Pontano, Kochanowski demonstrates a mature awareness of the Neo-Latin ode, formed at the meeting-point of ode and hymn and constituting an element of a cycle organised in accordance with a certain idea.
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Między Eobanem a Buchananem. Poetycka psalmografia Grzegorza z Sambora

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Buszewicz E.
Rocznik Przemyski
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2012
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vol. 48
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issue 2: Literatura i Język
21-34
EN
The main purpose of the paper is to present and to analyse the two Psalm paraphrases written in verse by Gregory of Sambor (in Latin: GregoriusVigilantiusSamboritanus, in Polish: Grzegorz z Sambora). Both poems were included in Simon Goritius' Panegyricum de Diva Anna.Carmen, Krakow 1568. They are written in Horatian metres - Psalm 113 (112) in the lesser Asclepiadean, and Psalm 15 (14) in the greater Asclepiadean. The former, an exhortation to praise God's name, is enriched by the poet with an element of the poesisartificiosa - the acrostic LAUDATE PUERI DOMINUM. The latter is a kind of liturgical Decalogue; the metre emphasizes its mnemonic values. The poet, who certainly knew some poetical Psalm paraphrases of the period, including EobanusHessus' one, chosed his own way of emulation, composing notin elegiac couplets, as Hessus and his followers did. Doing so, he gave us an evidence that he was au courant with the flow of the news - he was the witness of a birth of a new tendency of writing Psalm paraphrases in various lyric metres; the greatest achievement of the tendency was George Buchanan's Psalmorum Davidis paraphrasis poetica(1566).Samboritanus' paraphrases, addressed to the students, were characteristicof a humanist approach to teaching and learning. Their artistic form may acknowledge that the former philologists' opinion about the poet's minor talent and craft was biased.
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Imitacja horacjańska w łacińskiej twórczości Jana Kochanowskiego

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Buszewicz E.
Terminus
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2014
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vol. 16
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issue 2(31)
PL
Horatian Imitation in Jan Kochanowski’s Latin PoetryThe aim of this study is to show how Kochanowski imitated Horace in various ways and at different levels of his poetry. As to this moment, the matter has been discussed, mainly in regard to the Lyricorum libellus, by Zofia Głombiowska and Józef Budzyński. In this paper, the author briefly summarises their statements and comments upon them expressing her own view. She also mentions some other publications dealing with the Horatianism of the Polish poet to a lesser degree. The text is divided into four sections. In the first one, the author makes a brief comparison between Kochanowski and Petrarca in the context of their mental kinship with Horace that resulted in poetry which is “Horatian” not only in terms of the verba but also some ideas. The second section is devoted to the Horatianism of Kochanowski’s collection of odes (Lyricorum libellus). The author begins with a brief summary of the previously mentioned scholars’ views. She also demonstrates that some of these views may oversimplify the question of Horatian imitation in case of at least several of Kochanowski’s poems. To illustrate this, she presents an analysis of ode XI (In equum) in the context of its Horatian models; the conclusion is that in this poem, as well as in the entire collection, Kochanowski imitates Horace in a sophisticated and polyphonic way. The third part of the text, after a brief mention of the “loci Horatiani” in Kochanowski’s elegies, shows the interplay of ideas between Horatian poetry and Kochanowski’s Elegy III 1. The author puts emphasis on the fact that Kochanowski adapted some of the elegiac themes to the Horatian rhetoric. Concluding her disquisition, the author argues that Kochanowski’s Horatian imitation is neither superficial nor confined to the imitation verborum, but reaches deep in the structures of Horace’s poetry.
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Kołczan miłości, czyli o metamorfozach starej alegorii

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Buszewicz E.
Prace Filologiczne. Literaturoznawstwo
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2016
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issue 6(9)
211-222
EN
The aim of this paper is to show how the allegory of an arrow piercing the heart, as an element of erotic discourse, functioned in early-modern Polish poetry (both secular and religious). The author analyses two poems: a vernacular poem by Jan Kochanowski, from his collection of Songs (I 4), published in 1585 in Krakow, and its Latin paraphrase written in 17th century by Elisaeus a Sancta Maria OCD, who was the author of a verse collection De vita, gestis ac miraculis sanctae matris nostrae Theresiae a Iesu, Seraphicae virginis Lyricorum libri IV, epodon liber unus duoque epigrammatum, published in 1650 in Krakow as well. Elisaeus calls his paraphrase a “palinody” because of its polemic tendencies. The analysis of Kochanowski’s song focuses on finding the dominant elements of each stanza for the purpose of demonstrating that the Carmelite poet saved their order, but presented them in a completely different dimension, in a new ideological context, opening a metaphysical perspective.
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Róże dla osłów. Topika ogrodowa w „Hortulus elegantiarum” Wawrzyńca Korwina

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Buszewicz E.
Prace Filologiczne. Literaturoznawstwo
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2011
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issue 1(4)
13-25
EN
Lorenz Rabe, a 15/16th century Silesian humanist and teacher known by his Latin name, Laurentius Corvinus, wrote a number of poems and schoolbooks in Latin. Among his works was Hortulus elegantiarum, containing a collection of hints on elegant Latin style and its examples. The manual, whose editio princeps appeared in 1502, was dedicated to the students of the Jagiellonian University. It had around 25 editions. The main purpose of this paper is to discuss the preface and the afterword to the Hortulus in the context of loci communes concerning the garden metaphor. In Corvinus’ Hortulus the metaphor may be read in different ways: as a book, a pupil’s mind or author’s creative invention. The first way is used in Corvinus’ afterword and preface, whose palimpsest structure (evoking Apuleius’ Metamorphoses) emerges from the analysis included in the main part of the article. Two other ways of application of the metaphor are connected with Corvinus’ dedicatory poem to Cracow students. The dedication is briefly discussed at the end of the paper.
7
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Semiotics of Old Age in Polish Neo-Latin Poetry. Samboritanus, Cochanovius, Treter, Sarbievius, Ines

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Buszewicz E.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2017
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vol. 27
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issue 2
PL
The main aim of this paper is to analyze several early-modern Neo-Latin poems written by Polish authors; the poems deal (in different ways) with old age. The poets undertake a kind of intertextual game with the reader, applying various stereotypes and clichés. On can speak about a “semiotic landscape” of old age. The authors taken into consideration are Jan Kochanowski, Grzegorz of Sambor, Thomas Treter (16th century) and Maciej Kazimierz Sarbiewski, Albert Ines (17th century).
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Klemensa Janicjusza sztuka wymówki

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Buszewicz E.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2017
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vol. 27
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issue 1
103-120
PL
Rhetorical strategy called the recusatio, starting from the rejection of the epic in the Hellenistic period, developed in diverse ways in Roman poetry (Tibullus, Vergil, Horace, Martial and others). It was often connected with the poet’s declaration of his literary interest, hierarchy or program. The author’s aim is to confront these topoi with Clemens Ianicius’ realization of this strategy in three elegies: Tristia III (Excusat Petro Cmitae, Viro Illustri, Patrono suo, silentium suum Patavinum…), Variae elegiae VI (Verecunde a Petro Cmita petit, ut ei ad Italica studia subsidio sit) and Variae elegiae XI (A Franciscano quodam rogatus, ut in Scotum quiddam scriberet, se illi excusat).
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Jan Kochanowski’s Psalter – a Source of Polish Poetry and Mirror of the Human Mind

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Buszewicz E.
The Biblical Annals
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2023
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vol. 13
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issue 3
419-437
EN
The article deals with Jan Kochanowski’s Psałterz Dawidów [David’s Psalter], published in 1579. This paraphrase of the biblical Psalter, intensely lyrical in its spirit, was inspired by George Buchanan’s Latin poetic paraphrase of the Psalms, which is strongly Horatianising. Kochanowski’s work can be seen as a presentation of humanist piety. That is to say that the borders between secular and sacred spaces, or even between Judeo-Christian and Pagan traditions, may seem blurred. The Psalter is also interconfessional (or “doctrinally neutral”) and acts as a universal mirror reflecting the human mind. The author analyses three of Kochanowski’s Psalms to demonstrate the intellectual and emotional space of his Psalter and its polyphonic structure: 1 (Beatus vir qui non abiit in consilio impiorum), 19 (Caeli enarrant gloriam Dei) and 91 (Qui habitat in adiutorio Altissimi), displaying some interplays of ideas and different approaches to paraphrasing applied by the poet.
10
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Wzloty, odchylenia i lamenty, czyli imitatorzy wobec potrzeby nowości

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Buszewicz E.
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2019
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vol. 14
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issue 2
45-66
EN
Precursors and forerunners, when they seek for novelty, establish some norms and frameworks which, in turn, become defining for poetical genres and currents. So, what is the right of an imitator to search for new paths? The subject of the article are meta-poetic declarations of creators, who willingly and consciously follow in the footsteps of their great predecessors. The author points to the metaphors by means of which the poets defend their “space of freedoms” or concede to their powerlessness. The cases of the following poets are considered: Józef Bartłomiej Zimorowic in relation to Szymon Szymonowicz, Albert Ines and Andrzej Kanon in relation to Maciej Kazimierz Sarbiewski. Especially close attention was given to problematics and contexts of Albert Ines’s words prefacing a collection of poems that are quoted and translated in the article.
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Genologia i finezja. Najkrótsze pieśni Jana Kochanowskiego

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Buszewicz E.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2020
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vol. 20
59-75
RU
The 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.
DE
The 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.  
12
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Ad fontem Sonam (Ep 2) Macieja Kazimierza Sarbiewskiego. Opowieść o źródłach

100%
Buszewicz E.
pl.it / rassegna italiana di argomenti polacchi
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2015
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issue 6
39-55
EN
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.
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