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1

SARMATIAN READER OF JOHN BARCLAY

100%
Hanusiewicz M.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
|
2007
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vol. 14
|
issue 2(28)
11-33
EN
The article presents the problems pertaining to the Polish perception of Scottish, modern Latin writer John Barclay, its manifestations evident in the works by Lukasz Gornicki Jr., Lukasz Opalinski, Jan Andrzej Morsztyn, anonymous texts (including little known prosaic translation of the 'Argenis'), although it focuses on the poem by Waclaw Potocki - 'Argenida', which is an adaptation of the already mentioned famous Barclay's novel of 'Argenis'. Under analysis are technique of paraphrase and a model of lecture objectivised in it, which testifies that the political issues included in the literary work of the Scotsman induced the Sarmatian poet to interpret the 'Argenida' as a novel pertaining to the 17th-century Poland, and for him became a means of expression of his own political views. According to the opinion of the authoress, more thorough examination of the reception of the Barclay work and identification of the circles of intellectuals interested in it, could reveal a relatively wide range of impact of his political thought among the Polish 'szlachta' and the role it could have played in the development of reformational ideas and attitudes.
2

ON CHARACTERISTICS OF STYLE IN 'IDYLLS' BY JAN GAWINSKI

100%
Rot E.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
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2007
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vol. 14
|
issue 2(28)
45-63
EN
In the 19th century two conclusions were formulated about the characteristics of the style of the 'Idylls' by Gawinski: first, that they represent the style of Baroque (Biegeleisen, Pauli, Bruckner), second, that their heroes' way of speaking does not match the style of rural poetry (Rzazewski, Mostowski). An assumption that an idyll conveys special meanings under the cover of allegory (Ramus, Sturm, Camerarius, Riccius) authorized the conviction of apparent simplicity of the bucolic style. At the same time the mythological-pastoral costume characteristic of the genre gave the possibility of linear reading. The purpose of the present article is to indicate and describe the main characteristics of the style of the 'Idylls' by Jan Gawinski and to demonstrate that they are not without influence on the importance of these poems. The traits of the poems by Gawinski: various types of repetition, reduplications in apostrophe, refrains, are legitimate both within the 'low' folk lyrics and 'high' literary tradition. Whereas so frequent in Gawinski enjambments, multiple inversions, manifold subordinate clauses, sound instrumentation - all these closer to melic poetry rather than to folk one, place the idylls firmly within the limits of humanistic literary culture. In the context of these reflections it should be admitted that the model of 'pastoral speech' lies, above all, in the literary tradition, although certain linguistic constructions could be of 'the country' provenance. Gawinski, though in his idylls is ideologically closer to the Renaissance, differs from it in his style, he highly hyperbolises unclassical stylistic means frequently used by Szymonowic. In consequence, it lead to non-classical sophistication of thought.
3

TRACES OF 'PENITENTIAL SONGS' BY OLBRYCHT KARMANOWSKI IN WACLAW POTOCKI'S 'DECIMA OF PENITENTIAL SONGS'

100%
Reczkowicz B.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
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2007
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vol. 14
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issue 2(28)
35-43
EN
The article discusses the relationship between the 'Penitential Songs' by Olbrycht Karmanowski and 'Decima of Penitential Songs' by Waclaw Potocki. The authoress proposes a thesis of direct influence of Karmanowski's cycle on Potocki's writings. The probable reason for this relation is the same literary genre - penitential elegy. Both writers were also members of the Arian Church. The reminiscences present in the 'Decima' differ in faithfulness to the poems by Karmanowski. Direct connections of both cycles are mostly certified by four passages of the 'Decima' which are so close to the text of the 'Penitential Songs' that could be regarded as direct citations. Apart from those, there are also other minor traces of existence of Karmanowski's poetry in the 'Decima', including: realisation of the same images and themes, often derived from the Bible, lexical convergences, identical rhyme pairs. Although all Potocki's borrowings bear signs of poetical intervention, nonetheless the poems by Karmanowski could be indicated as a pattern source of the 'Decima of Penitential Songs'.
4

ANOTHER NOTE ON THE HISTORY OF PLAGIARISM IN 17TH-CENTURY POLISH LITERATURE

88%
Mazurkiewicz R.
Ruch Literacki
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2008
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vol. 49
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issue 6(291)
591-600
EN
In the first half of the 17th-century Polish literature succumbed to a wave of plagiarism, which ranged from crude appropriation of authorship or the ransacking of whole passages from someone else's text to the uninhibited production of various compilations, adaptations, and cryptoquotes. One of the most prolific plagiarists was Jan Karol Dachnowski, who published under his own name Jan Zabczyc's collection of carols 'Angelic symphonies'. This article identifies another of Dachnowski's plagiarisms. It is the mystery poem 'Dialogue about the wondrous nativity of the Son of God' (1621). More than half of that poem, so far regarded as Dachnowski's original work, was in fact copied verbatim from Grzegorz Czaradzki's 'Rhymes on the immaculate birth by the the Virgin Mary, Mother of God' (1613). What makes this 'borrowing' even more astounding is the fact that Czaradzki's poem happens to be a translation of 'De partu Virginis' by the celebrated Renaissance poet Jacopo Sanazzaro.
5

THE ROSE IN BAROQUE POETRY

88%
Kornillowicz N.
Ruch Literacki
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2008
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vol. 49
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issue 4-5
401-413
EN
Although no poetic evocation of the rose in the Baroque style can equal Daniel Naborowski's 'Róza przypisana po koledzie' (Rose attached after carolling) the characteristic rose imagery can be found in a great number of other texts, eg. Waclaw Potocki's intricate analogies of that noble flower. The rose is associated with ideas and values such as purity and nobility (going back to the Neo-Platonic idea of the angelic mind), coyness and youth. In poems written in an elevated, heroic mode the rose often symbolizes chivalric fame. The transient beauty of the flower may as well suggest a range of ambivalent or contradictory senses, generated by the imagination or supplied by tradition (Sappho) and mythology. The Horatian tradition, which has a prominent place in Polish Renaissance and Baroque poetry, combines roses with other flowers admired for their colour and sweet smell (as for example in the poems of Maciej Kazimierz Sarbiewski). In such bouquets the rose is usually assigned a laudatory function, though on many occasions (eg. in the 'Ode to the Narew') it remains a sovereign entity. Seventeenth-century Polish 'rose' lyrics also draw on Ovid's 'Metamorphoses'. For the classicistic Daniel Naborowski roses bring both glimpses of the golden age and an adumbration of a re-born world to come. In poetry roses, as well as other flowers, set off the metaphoric transformation of things and moments in time into revelations of beauty. Their beauty may be perfect and abstract, outside human time and space, and yet they are endowed with sensuous shapes, smells, colours, and made to grow in the Baroque Gardens of Love (eg. Zimorowic's The Twentieth: Melani). In this case the poet's argument climaxes in a dazzling paradox (the rhetorical figure of the merviglia). There can be little doubt that the Baroque poets were fascinated by the extraordinary beauty of the rose. Following the lead of Tasso they were busy discovering its potential for engendering a wealth of poetic expression manifested in a wide range of genres, ie. the epithalamion, which extols the inner beauty shining through words and speech. It should also be noted that in the seventeenth-century and the preceding epochs the rose was a favourite emblematic flower, emblazoned on coats of arms and heraldic signs. The rose is some-times paired with the lily - in a most boldly imaginative manner in the poems of Morsztyn.
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