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Robortello nei "Foricoenia" e negli "Elegiarum Libri Quattuor" di Jan Kochanowski

100%
Cabras F.
Italica Wratislaviensia
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2021
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issue 12.1
47-65
EN
This article aims to study Jan Kochanowski’s "Foricoenia" and "Elegiarum Libri Quattuor" in the light of Francesco Robortello’s treatise "Eorum omnium quae ad methodum et artificium scribendi epigrammatis spectant explicatio". After having set Robortello’s treatise in its historical and literary context, the article shows how Jan Kochanowski, who probably attended Robortello’s classes during his first two stays in Padua (1552–1555; 1556–1557), agreed with the ideas presented in the treatise. The fact that Kochanowski agrees with his professor’s ideas on the epigram does not mean that he behaves in a totally passive and uncritical way, for he clearly shows his independence when writing his Latin epigrams, sometimes refusing to comply with Robortello’s suggestions (e.g., Kochanowski does not avoid the use of elegant and rare Graecisms, which Robortello advises against excessively using). Kochanowski owes Robortello his high consideration for Catullus: when imitating Catullus’s epigrams, Kochanowski often chooses to imitate (or to hint at) the same epigrams Robortello commends in his treatises (for instance, Cat. LXIX is clearly imitated in "Foricoenia" XXV, while Cat. XV is quoted in elegy I 7). We encounter the same situation when Kochanowski deals with Martial: although Robortello clearly prefers Catullus over Martial, he praises the love epigrams written by the latter poet, and Kochanowski, in writing his "foricoenium" CV, imitates Cat. XCIX as well as Mart. III 65 and XI 8, the latter two epigrams not quoted explicitly by Robortello, but chosen by Kochanowski himself.
IT
Il contributo si propone di studiare i "Foricoenia" e gli "Elegiarum Libri Quattuor" di Jan Kochanowski alla luce del trattato di Francesco Robortello "Eorum omnium quae ad methodum et artificium scribendi epigrammatis spectant explicatio". Dopo aver inquadrato il trattato di Robortello nel contesto storico-letterario in cui è stato composto, si procederà a dimostrare come le idee del professore dell’Università di Padova in merito a questo genere letterario verranno in buona parte accolte da Kochanowski, che era stato molto probabilmente suo allievo durante gli studi universitari. L’accoglimento delle idee di Robortello non è tuttavia passivo e pedissequo, ché il poeta polacco saprà anche rielaborare in modo personale i suggerimenti del maestro e finanche rifiutarli esplicitamente (ad esempio là dove non si astiene dall’impiegare grecismi nei suoi epigrammi latini). Kochanowski deve a Robortello l’attenzione riservata a Catullo. Egli infatti molto spesso imita o allude agli stessi epigrammi catulliani elogiati da Robortello (è il caso di Cat. XV e LXIX, ripresi nell’elegia I 7 e nel "For." XXV), mentre mostra di apprezzare (esattamente come Robortello, che pure non nasconde la sua predilezione per Catullo) il Marziale autore di epigrammi erotici, ripreso ad esempio nel foricoenium CV, dove Kochanowski incrocia un epigramma catulliano (il carme XCIX) con due testi marzialiani (III 65 e XI 8).
2
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Problemi interpretacije i prevođenja stare književnosti Nekoliko pitanja, primjedbi i propozicija

100%
Milanović Z.
Przekłady Literatur Słowiańskich
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2016
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vol. 7
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issue 1
250-260/261-270
HR
U ovom članku obrađena su neka translatološka pitanja i problemi na području prijevoda stare književnosti, a na osnovi odabranih ulomaka iz djela Jana Kochanowskog, kao i iz eseja Czesława Miłosza, koji se dijelom također odnosi na translatološke probleme. Provedena analiza citiranih stihova i njihovih prijevoda pokazuje da prevođenje renesansne književnosti podrazumijeva i poznavanje tadašnjih poetika i retoričkih regula, koje su dijelom baštinjene iz razdoblja starog vijeka. Osim toga, bitnim se čini, kako postulira Miłosz, i psihološki čimbenik, koji je poljski nobelovac odredio kao „suosjećanje” prevoditelja s osobom danog autora. Za samu translatologiju presudna je književna interpretacija i cjelovito razumijevanje prevođenog teksta iz područja stare književnosti. Ta interpretacija treba polaziti od temeljita poznavanja renesansne epohe i kulture, u sklopu koje je književno djelo i nastalo.
EN
In this paper I have analyzed some translatological questions in the field of translating old literature, on the basis of selected fragments from the works of Jan Kochanowski and from the essay of Czesław Miłosz that examines some translatological problems. An analysis of the cited fragments and their translations shows that the translation of Renaissance literature should also opt for knowledge of contemporary poetics and rhetorical rules, which formed a part of the legacy from the literature of the ancient period. In addition, as Miłosz postulates in his essay, it seems that in the process of a translation of great significance is the empathy of the translator himself with the persona of a given author. Literary interpretation and the correct understanding of old literature is a crucial factor and the starting point in the translation process. Such an interpretation is based on a thorough knowledge of the epoch and the culture of the Renaissance period, within which the concrete work was written.
3
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Metrum i pistolet. Zasady przekładu poetyckiego według Antona Marii Raffa

98%
Ceccherelli A.
Tematy i Konteksty
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2020
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vol. 15
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issue 10
23-35
EN
The article presents the strategies adopted in translating Polish poetry by Anton Maria Raffo (1937–2018), one of the most outstanding Italian translators of Polish literature. In his constant striving to reproduce the metre and, whenever possible, the rhymes, he distinguished himself from the dominating trends of poetry translation in Italy, prescribing the use – and abuse – of vers libre even for metrical and rhymed poetry. Raffo translated poets who still used traditional versification like Jan Kochanowski (a true masterpiece is his translation of Kochanowski’s Pieśni – Odes), Adam Mickiewicz or Bolesław Leśmian, but also XXth-century poets like  Czesław Miłosz, Zbigniew Herbert or Wisława Szymborska, among whose works he selected and translated the poems which present a certain metrical regularity. A.M. Raffo’s lesson was followed by several other translators of Polish poetry in Italy.
PL
W artykule przedstawiono strategie tłumaczenia poezji polskiej Antona Marii Raffo (1937-2018), jednego z najwybitniejszych włoskich tłumaczy literatury polskiej. W swoim nieustannym dążeniu do reprodukcji metrum i, w miarę możliwości, rymów, odróżniał się od dominujących trendów przekładu poezji we Włoszech, zalecając stosowanie – i nadużywanie – wiersza wolnego nawet w poezji metrycznej i rymowanej. Raffo tłumaczył poetów, którzy nadal posługiwali się tradycyjną wersyfikacją, jak Jan Kochanowski (prawdziwym arcydziełem jest jego przekład Pieśni – Ody Kochanowskiego), Adam Mickiewicz czy Bolesław Leśmian, ale także poeci XX wieku, jak Czesław Miłosz, Zbigniew Herbert czy Wisława Szymborska, wśród których wybrał i przetłumaczył wiersze, które wykazują pewną prawidłowość metryczną. Strategię Raffo wykorzystało kilku innych tłumaczy polskiej poezji we Włoszech.
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Dwujęzyczność w twórczości Jana Kochanowskiego

98%
Kwiatkowska A.
Forum Poetyki
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2015
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issue 2
80-91
EN
Jan Kochanowski was a bilingual artist– he wrote poems in both Latin and Polish. The choice of language in his work is determined by the circumstances in which particular works arose (in his Paduan period he wrote in Latin, after his return to Poland he turned to his native language) as well as the subject matter he deals with in different texts. A comparison of his foricoenia and fraszkas or Latin elegies and Polish songs demonstrates that he uses both languages to express a range of emotions and both allow him to employ diverse literary conventions.
PL
Jan Kochanowski był twórcą dwujęzycznym – pisał po łacinie i po polsku. Wybór języka w jego twórczości determinowany jest okolicznościami powstawania utworów (w okresie padewskim tworzy po łacinie, po powrocie do Polski sięga po język ojczysty) oraz tematyka, jaką podejmuje w kolejnych tekstach. Porównanie Foricoeniów i Fraszek czy łacińskich elegii i polskich pieśni pokazuje, że oba języki służą poecie do wyrażania różnych emocji i pozwalają uruchomić inne konwencje literackie.
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The First Polish-French Rendez-Vous of Cultures. Henry III of France’s (Henri de Valois’) Polish Episode

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Półćwiartek-Dremierre D.
Roczniki Humanistyczne
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2018
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vol. 66
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issue 1: Literatura polska - Selected Papers in English
73-91
EN
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 63 (2015), issue 1. A complex political game, differences in the level of development of the political, social and aesthetic thought, different customs, and also frequently a language gap—all these conspired against the Polish-French dialogue in the sphere of culture in the years 1573-1574. The article analyzes the opportunities for both parties to get to know each other during the Polish episode of Henri de Valois: a visit by the Polish group of envoys to Paris in the summer of 1573, and a poetical exchange between Philippe Desportes and Poles, including Jan Kochanowski, that closed the Henri period. The exchange, up till the recent times called univocally a “duel,” turns out to be, in the case of Adieu à la Pologne and Gallo crocitanti ἀμοιβή the starting of a real, albeit ephemeral dialogue beyond the political and everyday reality, one on the level of art.
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